Still Waters

Track Listings

1. How Beautiful

2. In the Morning

3. Joyful

4. Silence

5. More Precious

6. Behold

7. Shine

8. Turn Away

9. First and Last

10. Still Waters

Editorial Reviews
Product Description
Experience inspirational pianist Stanton Lanier's second album of Music to Light the World(TM) - all original, beautiful solo piano melodies sharing the light of God's word, and drawing listeners closer to Him. "In creating the music for Still Waters, I continually reflected on how I long for peace, stillness, and calm in a world that is so full of stress, busyness, and hurry. I believe we all long for this sense of peace that so often only comes temporarily through a beautiful piece of music or a beautiful view of creation. I hope my Music to Light the World(TM) and its inspiration will bring light to your life in the form of eternal peace, joy, and contentment that only comes from God our Father in heaven." - Stanton Lanier

Still Waters,Stanton Lanier,Stanton Lanier,Experience Stanton Lanier's Music to Light the World™ -- inspirational solo piano melodies created to bring peace to the soul.

Still Waters

Tracks:

Alone
I Surrender
I Could Not Love You More
Still Waters Run Deep
My Lover's Prayer
With My Eyes Closed
Irresistible Force
Closer Than Close
I Will
Obsessions
Miracles Happen
Smoke And Mirrors

Product Description

Excellent condition, includes the original CD, case, and paperwork, First Class shipped, ask me for my CD List! :)

Amazon.com

The closest that the oft-misunderstood Brothers Gibb have come to staging a full-blown '90s comeback, Still Waters suffers a bit from some misguided attempts by big name pop producers David Foster, Hugh Padgham, and Arif Mardin to slot the trio into commercial urban pop styles. A handful of standout numbers like "Irresistible Force," "Smoke and Mirrors," and the majestically melancholy hit "Alone" make Still Waters worth a listen, recapturing the bittersweet brilliance of the Bee Gees' best work and demonstrating that these old pros have still got a few tricks up their sleeves. --Scott Schinder

Customer Reviews:

one of their last CD's??.......2007-07-23

I've said it before, the Bee Gee's is a group who's music will be here forever. The harmony,etc. is unique! Not as many songs on this CD that were exceptional but still worth listening to.

mature material at the end of a millenium.......2007-07-19

Luis Mejia (son) - Bee Gees, short time before Maurice's tragic death, decided to end the millenium with an album very different and completely underrated. Still Waters remains as one of my Bee Gees' favorites, not their best work though its much more mature, possesing an adecuate number of ballads and joyful themes. The album's sound and mellodies are very nice but not as catchy as their past works, although it keeps an interesting musical direction and style. Ballads like the famous Alone, I Will, My Lover's Prayer, I Could Not Love You More and the title track are much more recognizable among their classic style, containing wonderful love themes with very mellodic sounds. Strong themes with more mature rythms but with a certain lack of good mellodies, where there is found a new musical style not seen before are found in the tracks I Surrender, With My Eyes Closed, Miracles Happen, Obsessions, Closer Than Close and Smoke And Mirrors; maybe Miracles Happen and Smoke And Mirrors still possess familiar sounds but excellent as well. A song that gets out of the album's structure is certainly Irresistible Force, wich is an incredible track very familiar to their songs at the end of the 70's, and has a fast but catchy rythm, nice lyrics and awesome mellodies. The only aspect that I didn't find very good was the adult contemporany type of songs seen in the whole album, a little dissapointing in this term, but anyway is excellent. In conclussion I liked the album a lot and I think other people will find it nice also, not their greatest effort but good for the ears, if you know what I mean.

Robin's #1 FAN.......2007-05-12

This is a really great CD. I have 2 copies; one for my car & one for home. After all the years I've listened to their music, I love getting these less popular (in the U.S.) albums. I'm hearing songs for the first time because they were just nominal hits's in the U.S. If you love the Bee Gees, buy this one too.

AWESOME!!.......2006-12-15

THIS CD IS TRULY AMAZING WHICH ISN'T SURPRISING. EVERYTHING THE BROTHERS RECORD IS SIMPLY GOLD!!
I LOVE EVERY SONG ON THIS ALBUM, MY FAVORITES BEING OBSESSION AND MY LOVERS PRAYER. THIS IS A MUST HAVE FOR EVERYONE, EVEN IF YOU ARE NOT A BEE GEES FAN. HOWEVER I CANT IMAGINE ANYONE NOT BEING A FAN!!

I'M SADDEN THAT THE BEE GEES ARE NO MORE. THE WORLD HAS SUFFERED A MAJOR LOSS.

CD .......2006-03-27

We love the Bee Gee's and have their "one night only" concert on DVD and will probably need another one because I know we'll wear this one out. Also, thanks for having a CD that is not in stores to buy. God Bless

Average customer rating:

New artist - Beautiful - easy listening and memorable
great artist great singer

Still Waters
Louise Setara
Manufacturer: Manhattan Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000HC2P8Q
Release Date: 2006-09-12

Tracks:

Love Me Still
By The Time
Make You Feel My Love
Homeless
Wrong Again
Too Soon
Circle
Can't Stop The River
Sylvie
Let It Be Me
I Can Hurt
If I Should Fall
Ain't Gonna Let You Break My Heart Again

Customer Reviews:

New artist - Beautiful - easy listening and memorable.......2006-10-05

I came across these new 18 yr old artist on the Mother Jones website of all places. The site (Mother Jone In Tune) lets you sample many new artists. I listened to a few with Setara being one of them. I didn't care enough for the others but when I got to Louise Setara it was different. I think she is really good and not in an american idol way, either. She has a breathy kind of singing that a promo site of her's describes as "soulful" and "gospel tinged." Maybe, that and a heavy dose of heart (and every once in awhile a bit of good country). Really nice lyrics that's for sure. I don't know if she writes her own work. Anyhow, she's got a MySpace with samples on it (like everyone else). Check it out. I highly recommend this lady.

great artist great singer.......2006-09-13

A real nice cd and this woman can sing...buy this one... she's great... no filler junk on this one...ENJOY!

Average customer rating:

Well worth the price.
Two great albums from 1970

Still Waters Run Deep/Changing Times
The Four Tops
Manufacturer: Universal
ProductGroup: Music
Binding: Audio CD

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On Top/Reach Out
Yesterday's Dreams/Soul Spin
The Four Tops' Second Album
Great David Ruffin: The Motown Solo Albums 1
Make It Happen/Special Occasion

ASIN: B000055XXQ
Release Date: 2001-11-12

Tracks:

Still Water (Love)
Reflections
It's All in the Game
Everybody's Talkin'
Love Is the Answer
I Wish I Were Your Mirror
Elusive Butterfly
Bring Me Together
L.A. (My Town)
Still Water (Peace)
In These Changing Times
Just Seven Numbers (Can Straighten Out My Life)
Raindrops Keep Falling on My Head
Right Before My Eyes
I Almost Had Her (But She Got Away)
Try to Remember
Something's Tearing at the Edges of Time
Sing a Song of Yesterday
Long and Winding Road/In These Changing Times

Album Description

UK reissue combines two out-of-print Motown classics together on one CD, 'Still Waters Run Deep' (1970) & 'Changing Times' (1970). Slipcase.

Customer Reviews:

Well worth the price........2005-07-19

By the time these two albums were released, The Four Tops weren't very high on Motown's priority list. That's really a shame because these albums contained some of their strongest material. Frank Wilson was the appointed producer for both albums and the production is top notch, using many of Motown's highly talented musicians. Some of the recordings truly stand out. Although skimpy in the lyric department, "Still Water (Love)" is a true R&B classic. The Tops rendition of "Reflections" is better and tighter than the Supremes original version, in my opinion. "Love Is The Answer" brings back memories from when I was a child. (I owned a copy of the single.) It's a fun song with some really swinging horns.
I also owned the Changing Times album when I was very young and I played it to death. The track "In These Changing Times" with it's strange collage of street sounds and distorted voices taking up over two minutes before the song actually kicks in, is one of those songs that easily gets stuck in one's head.
Levi Stubbs lead vocal on "I Almost Had Her (But She Got Away)" is heartbreaking and the arrangement is brilliant. "Just Seven Numbers (Can Straighten Out My Life)" is a moderately paced gem about a fella whose male ego keeps him from calling his girl first to talk things through. My favourite track on the album has to be "Right Before My Eyes." The vocals and musicianship on this great track are stunning. The rhythm section alone is priceless.
I would have given this cd five stars if it weren't for the fact that I would have preferred more original tunes on the albums. Motown was notorious for putting a lot of remakes on their albums, even having several of their own artists record the same material.
Still, the pros definitely outweigh the cons. I highly recommend this cd.

Two great albums from 1970.......2003-05-17

The first of the albums featured in this twofer - Still waters run deep - contains two major international hits. It's all in the game was a hit for various singers in the fifties. Originally a USA hit for Tommy Edwards in 1951, it became a much bigger USA hit for him in 1958, when it also became a massive UK hit. It was also a huge UK hit for Cliff Richard in the sixties, but all that didn't stop the Four tops having a top five UK hit and a top thirty USA hit. Still water (love) just missed the USA top ten but just made the UK top ten. There are some notable covers here, including Elusive butterfly (Bob Lind), Everybody's talking (Harry Nilsson), Reflections (Diana Ross and the Supremes).

The second album - Changing times - yielded Just seven numbers, a minor hit in the UK and the USA, plus another minor USA hit, In these changing times. On the album, this latter song is the second half of a medley with Long and winding road, the Beatles classic. Other covers on this album are Raindrops keep falling on my head and Try to remember.

Tracks:

Variations on Balkan Themes, Op.60:Theme: Adagio malincolico
Variations on Balkan Themes, Op.60:I. Piu mosso
Variations on Balkan Themes, Op.60:II. Maestoso
Variations on Balkan Themes, Op.60:III. Allegro ma non troppo
Variations on Balkan Themes, Op.60:IV. Andante alla Barcarola
Variations on Balkan Themes, Op.60:V. Largo con molta espressione/Poco piu mosso
Variations on Balkan Themes, Op.60:VI. Quasi Fantasia/Allegro all' 'Ongarese
Variations on Balkan Themes, Op.60:VII. Vivace/Valse lento
Variations on Balkan Themes, Op.60:VIII. Con vigore/Lento calmato
Variations on Balkan Themes, Op.60:Marcia funerale
Variations on Balkan Themes, Op.60:Cadenza. Grave/Quasi fantasia/Maestoso come Var.IIdo/Adagio...
Variations on Balkan Themes, Op.60:Scottish Legend, Op.54, No.1
Variations on Balkan Themes, Op.60:Gavotte fantastique, Op.54, No.2
Variations on Balkan Themes, Op.60:Scherzino: A Peterboro Chipmunk, Op.128, No.1
Variations on Balkan Themes, Op.60:Young birches, Op128, No.2
Variations on Balkan Themes, Op.60:A Humming Bird, Op.128, No.3
Variations on Balkan Themes, Op.60:Far Awa'
Variations on Balkan Themes, Op.60:Out of the Depths (Ps.130), Op.130
Trois morceaux caracteristiques, Op.28:No.1 Barcarolle
Trois morceaux caracteristiques, Op.28:No.2 Menuet italien
Trois morceaux caracteristiques, Op.28:No.3 Danse des fleurs
Trois morceaux caracteristiques, Op.28:By the Still Waters, Op.114

Amazon.com

Amy Beach is historically important as the first prominent American woman composer. She also wrote music of some substance and charm. But like most of her contemporaries, she wrote mostly rather lightweight salon music for solo piano, and its interest has faded considerably. Of pianist Joanne Polk's two Beach CDs, this one is the more recommendable because it includes a substantial piece, the Variations on Balkan Themes, which shows what Beach could do when she set her mind to it. Some of the little pieces here are unbearably trivial. Polk plays very well, and benefits from excellent recorded sound. -- Leslie Gerber

Customer Reviews:

BEACH AT HER BEST (REDUX).......2003-02-12

I can scarcely believe it's been nearly two and a half years since I wrote my first review [October 24, 2000!!] of Joanne Polk's enlightening second volume traversal ["Under the Stars"] of the complete Amy Beach piano oeuvre. But it has been, and time, that great elucidator and thief, has once again returned me to face the music.

And what music it is, most noticeably for the premiere volume's prescient inclusion of Mrs. Beach's haunting and evocative, nearly thirty-minute-long Variations on Balkan Themes, Op. 60, written in 1904. With a life that bridged two very different centuries, and a fresh musical mind, forever searching, growing and transforming, Beach [1867-1944] could do no less with her innate gifts than to compose with genuine originality, as is evidenced by the emotional depth and lyrical reach of the Variations.

Although pieces such as the Trois morceaux caracteristiques, Op. 28 [1897] and the Scottish Legend and Gavotte fantastique, Op. 54, No.'s 1 and 2 [1903] may smack of the New England "school," the earlier not coincidentally dedicated to MacDowell, they are nonetheless inventive and charming. However, the Op. 114 (By the Still Waters) [1925] and miniatures of Op. 128 [1928], especially No. 2 (Young Birches), show the composer venturing into melodically undefined, but thoroughly gorgeous Lisztian territory.

Out of the Depths, Op. 130, also written in 1928, but not published until 1930, is a wonderful piano "distillation" of Psalm 130, without pretense, and again, not unlike Liszt in its austere sincerity and modernity.

Far Awa' brings us full circle in the most magical of ways. Originally No. 4 from Beach's Op. 43 song cycle of 1899, the composer herself transcribed the work for piano (and organ) in 1935 while at the MacDowell Colony, with ongoing revisions. It's a beautiful, heartfelt piece.

Polk produces exquisite sound, captured warmly by the engineers, undeniably proving the appeal and value of this music. Not only is she a fine pianist, she is at one with the composer. I applaud her talent, and I applaud her efforts to bring Mrs. Beach's endearing creations to life. There is much to immerse oneself in here.

[Running time: 67:55]

Lovely.......2002-12-08

This CD is a collection of lovely pieces. My favorites are "Menuet Italien," "Scottish Legend," and "Gavotte Fantastique," all of which I've played before, so I think that increases my listening pleasure for them. A Peterboro Chipmunk is neat, too--you can imagine the little creature scampering along and stopping every so often.

Amy Beach, An Important Woman Composer?.......2001-11-01

Amy Marcy Beach was born in the United States just after the end of the Civil War and died very late in 1944 just months away from the end of World War II. As a musician, she was largely self-taught and not by her own choice. She would have liked to get some training, but the strictures of the male-dominated society in which she grew up limited her education and, to some degree, her options for a professional career as a musician. Despite all these obstacles, she was able to pursue a very active life as both pianist and composer, and it is her importance as a composer that is highlighted in this CD and the two others in this set.
Although Mrs. Beach was not a distinctly American composer in the same way that Gershwin, Ives, and Copland were, she had a penchant for nature, and used it extensively for inspiration in her work. While most of her work is derivative, being solidly based on European conventions and styles, her nature pieces mark her as a very distinctive and modern composer. I highly recommend from this album "A Peterboro Chipmunk," "Young Birches," "A Humming Bird," and "By the Still Waters," this last being very modern indeed. And although the other pieces on this CD are European in style, they will not disappoint you.

Average customer rating:

Tranquility for the Soul
Clear, Beautiful piano ensemble

Still Waters
Stanton Lanier
Manufacturer: Stanton Lanier
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008PW1B
Release Date: 2002-12-03

Tracks:

How Beautiful
In the Morning
Joyful
Silence
More Precious
Behold
Shine
Turn Away
First and Last
Still Waters

Album Description

Experience inspirational pianist Stanton Lanier's second album of Music to Light the World(TM) - all original, beautiful solo piano melodies sharing the light of God's word, and drawing listeners closer to Him. "In creating the music for Still Waters, I continually reflected on how I long for peace, stillness, and calm in a world that is so full of stress, busyness, and hurry. I believe we all long for this sense of peace that so often only comes temporarily through a beautiful piece of music or a beautiful view of creation. I hope my Music to Light the World(TM) and its inspiration will bring light to your life in the form of eternal peace, joy, and contentment that only comes from God our Father in heaven." - Stanton Lanier

Customer Reviews:

Tranquility for the Soul.......2006-01-20

There are times when I need music to inspire me. There are times when I need music to bring me to my knees in tears. There are times when I need music to jam out to.

But there are other times when music needs simply to be a soothing balm on my soul, to bring tranquility to the storms of life. That is exactly what Still Waters is-a selection of piano solos of unassuming elegance, restful but unobtrusive. Music to quiet the soul, music that allows my brain to think better without it having to engage with lyrics. It has become my "music to blog by." Highly recommended.

Clear, Beautiful piano ensemble.......2005-07-06

One of the most enjoyable piano ensembles ever produced. I love listening to this CD during a stressful day - it's very relaxing, without putting you to sleep. If you love listening to primarily piano music (without a lot of other instruments to clutter the ensemble), this CD is a great choice. "Joyful" is one of the best.

Beside Still Waters - Volume 4 - 24 Praise and Worship Favorites

Average customer rating:

Beside Still Waters - Volume 4 - 24 Praise and Worship Favorites

Manufacturer: Brentwood Music
ProductGroup: Music
Binding: Audio CD
ASIN: B000AY0ZH4

Product Description

Songs are: 1. Medley Give Thanks Thy Loving Kindness 2. Medley Holy Ground We Have Come Into His House In Moments Like These 3. Medley How Majestic Is Your Name His Name Is Wonderful Emmanuel Praise The Name Of Jesus 4. Medley I Will Sing Of The Mercies Of The Lord How Kind And Gracious Is The Lord Surely Goodness And Mercy 5. Medley Great Is The Lord Be Still And Know Bless The Lord O My Soul He Is Lord 6. Medley For He Alone Is Worthy We Worship And Adore You Lord Be Glorified Let There Be Glory And Honor And Praises 7. Through The Blood 8. Medley Majesty We Will Glorify Thou Art Worthy

Average customer rating:

Bee Gees Still Waters - Love the harmonies!
Mature Bee Gees Sound

Still Waters
The Bee Gees
Manufacturer: Reprise
ProductGroup: Music
Binding: Audio CD

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ASIN: B000EXZI1Y
Release Date: 2006-06-06

Tracks:

Alone
I Surrender
I Could Not Love You More
Still Waters Run Deep
My Lover's Prayer
With My Eyes Closed
Irresistible Force
Closer Than Close
I Will
Obsessions
Miracles Happen
Smoke And Mirrors

Album Description

Brothers Barry, Maurice, and Robin Gibb made musical history for close to four decades with their magnificent vocal harmonies and ever-evolving styles. Masters of orchestral pop, blue-eyed soul and R&B, dazzling dance grooves, and disco fever alike—as well as uniquely blended hybrids of all these genres and more—the Bee Gees delivered album classics and top chart hits throughout their enduring career. On this newly remastered edition, the amazing genetics of their harmonies shine, as does the ongoing artistic evolution that's made them one of contemporary music's most successful and legendary acts.

Customer Reviews:

Bee Gees Still Waters - Love the harmonies!.......2007-05-26

There are several songs on this CD I count among my current favorite songs. I just recently discovered that Spirits Having Flown wasn't the last of the Bee Gees albums (thanks to the Biography Channel!). I was truly excited to find more Bee Gees music than I had known existed! I purchased three of these more recent CDs, and Still Waters is my favorite of the three, containing several songs I really like. Though a review mentioned the "urban" quality of some of the songs (in general, I'm not into "urban"), one of my favorites is I Surrender--the harmonies and pulse of this song lifts my mood and makes me smile (the harmonies almost lift the hair on the back of my neck they're so good).

I'm so glad I took the risk and purchased this CD. Along with I Surrender, Alone is another favorite as well as Smoke and Mirrors, My Lover's Prayer, and I Will. Obsessions is probably my least favorite song on this CD; however, the others more than make up for this one song that I personally don't care for.

The other two CDs, Size Isn't Everything and This is Where I Came In, both contain a few gems I also count among my new favorites; however, Still Waters has the most and is most consistently the best in my opinion. For those who may be looking for Bee Gees music you've never heard before, this is a CD you might want to take a chance on--the harmonies alone were well worth it for me.

Mature Bee Gees Sound.......2006-09-15

Eventually we must all grow up. Sometimes we grow into mediocrity. Hopefully we grow into something so consistently good that we achieve the status of legend. I think this album shows that the Bee Gees had achieved a quality that was so consistently good that they could have continued to churn out albums with similar quality as long as they liked. "This Is Where I Came In" is also a good album, though with different qualities from this one.

There are a few songs that nearly sound like filler. On the other hand, several of these songs are as good as or better than anything the Bee Gees have ever done. When someone puts together a boxed collection covering their entire career, I hope at least one or two songs make the collection, because those songs, and that collection, deserve it.

"Alone" has its moments, but this song seems like an average song to me. There are moments when the song has a Scottish feel to it, but the feel is a flavor rather than being a strong influence. I know this song is a favorite of many people and I think I can understand that, but I much prefer several of the later songs.

Moving from a mild Celtic influence to urban pop, the Bee Gees submit "I Surrender" for your listening approval. I am unable to provide much quality commentary on this song. I am not a fan of modern urban pop, so this song is far from one of my favorites on this CD. Fear not, there is music that I like much better yet to come.

I like the third song much more. "I Could Not Love You More" contains several musically interesting moments, and I find this song much more appealing than the first two songs. However, I still think this song is just a bit above average for this CD.

I enjoy the fourth track a lot. "Still Waters Run Deep" reminds me, strangely enough, of Elton John's "Big Picture" album. As with Elton John, there is a maturity and presence to this song that catches my ear. The hooks are catchy, the harmonies are nice, and this song seems like it could have been a single. The classic Bee Gees sound is modernized and cleverly enhanced in this song. This song is a winner.

I also like "My Lover's Prayer," though it falls short of the previous track. I think I enjoy this song because of the harmonies. You can also readily hear vocal contributions by all three brothers Gibb.

The Bee Gees drop back into urban pop with "With My Eyes Closed." This song is for those of you that like this type of music. I must be getting old, because this track is one of my least favorite on this CD. I like bass, but the funky bass beat sounds like something that would be penetrating some teenager's car as he or she tries unsuccessfully to look cool.

As much as I disliked the previous song, I like "Irresistible." I know, Robin's voice is very different from Barry's, and Maurice's too, but some songs are treated nicely by Robin's voice, and I think this is one of them. The bouncy pace, the clipped words and the moments of pomposity just make this song the kind I like, no matter who is singing. Having the Bee Gees execute this one well makes this song a good one in my book.

Then we reach my favorite song on this CD. "Closer than Close" is a wonderful song. The pacing of the song, the lead vocals and the catchy hooks make this an excellent song. The music of this song reminds me a bit of Justin Hayward's albums "Moving Mountains" and "The View from the Hill." This song was released with "Alone," which had modest chart success. I think the focus should have been on this song, which I think is much better than "Alone." Of course, I am an old guy and what do I know about music?

The following song, "I Will," is again a bit above average with excellent harmonies and vocals. This song is very mature and well constructed. An entire CD of music like this from the Bee Gees would make me quite happy, even if the music falls short of being great.

I should be less impressed with "Obsessions," which seems about average for this CD, but there is something about it that catches my ear and my heart. I think it is the high falsetto that is magic for me. While the song seems like it should be average, since it intrigues me and makes me want to hear it again, I consider it above average.

The song "Miracles Happen" is an okay song, about average for this collection. I like the song and consider it a good song to have in this collection. Similar to the song "I Will," a CD full of music like this would be quite acceptable.

"Smoke and Mirrors" closes this CD. Send chills down my spine and make me want to spin this CD again. What an excellent song; one of the best on this CD. The harmonies and the music are excellent. I think this song is easily one of the best on this CD, ranking with the other above average songs.

UNFORTUNATELY, the brothers Gibb lost one of their brothers all too soon, and music like this will never be made again. This music is bittersweet, because it has places where it is an aching reminder of the best the Bee Gees ever sang. If you are a fan of the non-disco Bee Gees, please go buy this CD. It is short of perfect. It is short of great. But you will listen to it again.

Wax poetic and enjoy the muse, for we pass this way but once.

Enjoy!

Average customer rating:

Kyra Vayne

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

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Tracks:

Prince Igor: Jaroslavna's Arioso
Prince Igor: Jaroslavna's Complainte
Ernani: Ernani, Ernani Involami
O Del Mio Dolce Ardor
Mefistofele: L'altra Notte In Fondo Al Mare
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By The Don
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Lilacs
Sing Me No More The Songs Of Georgia
Spring Waters

Average customer rating:

A Rose By Any Other Name...
"Thus I salute the stronghold, safe from dread and dismay!
Free at last!
I Love This Recording
The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.