5 comments about Meyerbeer - Il Crociato in Egitto / Y. Kenny · D. Jones · Montague · B. Ford · Benelli · Kitchen · Royal PO · D. Parry.

1. Some great singing and fine orchestrasl work but the work doesn't live up to lthe hoopla and five star raves this recording has received. Five stars for the cast and production, yes! But the work is not a masterpeice even though it was apparently Meyebeer's greatest success in Italy. After this performance he would go to Paris and develolp his career their. His French operas always have overhelming scenes but none of his operas are without those interminably long moments. Moments is being polite. Often too much music for too little plot and I think that this comment fits here especially. The opera is an hour too long at best. Kenny, Ford, and Montague in particular are very impressive but the music holds them back from the exciting, enthralling deliveries that their voices promise. When I think of this comoser I think of Helavy, whose La Juive falls in the same category, some beautiful moments but there is far too much haranguing used to carry too llittle plot ; the music can't carry so much conversation and dialogues. Even Shicoff and Soile Isokoski in the recent RCA release can pull that opera off. Wagner gets away with those long moments but Meyerbeer does not. If I had paid the very high price that the recording sells for I would have enjoyed the recording even less. This is definitely not a must have but it is worth hearing, I just don't know how often I will listen to it. And for ... that is a very expensive luxury indeed. I wish that the Peter Moores Foundation and Opera Rara would get into more rewarding revivals; their quality and care of production is exemplary; they fhave released some great recordings. This just isn't one of them, at least as far as the music is concerned.



2. All the reviews so far have said basically the same things I would say about this recording: it is wonderful, and an excellent presentation of a very exciting work (and the great trio in the second act, in the garden later becomes a hymn in Christian hymnals, "Jesus, once of Humble Birth", so it you know that piece, then you can say you don't come to this opera unfamiliar with all the music). With this opera it doesn't matter if you are familiar with the music or not, there is simply not a single boring moment in it. Even the Recitatives are exciting! I think I would also say Meyerbeer did out Rossini even Rossini. He captured his style perfectly, which can be a drawback for some; after all, this isn't Rossini.

   The orchestra is lead in a very exciting way, and real life is breathed into the music. The delicate touches needed in places are simply as fine as spun lace. The singers actually bubble away with real enthusiasm for the work they are singing. Now, mind you, these singers never disappoint in anything they do. They may not be the biggest names around, but I have yet to find anything they have done (including concerts I have attended with them) where one was not impressed. I really doubt anyone will be disappointed in this work, even if you are not a real bel canto fan.

   As for using a female mezzo for the lead, well, I think it works out great. I simply couldn't imagine a countertenor doing that music justice. Now, you are not hearing Velluti or any of his embellishments, and really if one were to sing them, one would have had to use an Ewa Podles. Everyone concentrates on how "high " castrati must have sounded, basing everything on what boys sound like (the boy choir sound we are used to is very modern). We firstly have to look at the recordings of Moreschi. He has virtually no technique, so it is not that we are looking at. However, the voice is not like a boy at all. It has body, strength, and a very strong lower register. He floats his upper notes, as was the old way of singing, very focused so they carry, but not that loud. When one reads the reviews of this opera when Velluti sang it in London, one sees something about his way of singing, and combining that with his embellishments, one sees quite a different singer than we expect. He hardly ever ventured above the staff, and then only touched the notes. He also was want to descend as low as E and D below middle C and sustain those tones (he also transposed much of the music down, even as much as a third). Critics found his performance "Lifeless", as they did the lead female singer who was one of his pupils. The reasons are interesting. Both singers sang in a very old style, where the lower tones and middle tones were the strongest, and the upper tones weak, though penetrating. Times were changing, and singers like Pasta and Malibran were starting to sing more full-voiced high notes (though since both women were really mezzos or contraltos who forced their voices to sing soprano, the volume was probably more from forcing than a free volume we are used to today). The public were not greatly impressed with Velluti or his performance. However, when Malibran sang in it, the opera pleased. So the entire thing is academic. We don't train singers the way they used to be trained. We don't train big contralto low notes into our sopranos as was done in the past, and we sing high notes with far more volume than was ever imagined in earlier times. We don't have castrati either. So since in many ways we are not authentic anyway, why worry about it. The work speaks for itself, and that is enough. Great excitement is shared by the performers, and it is obvious they enjoy this work. That is the key to enjoying this work, just sitting back and drinking it in. And as was stated by another reviewer, this is one of the finest renditions of bel canto singing you will find on record.




3. Meyerbeer was an amazing composer, reinventing himself a couple of times in the course of a long career. This work is the last of his Italian operas. It is clearly a masterpiece in its own right, not just as an indication of what might be yet to come (there is actually very little such indications in it) or as an example of second-class bel canto operas in the period right after Rossini. While the opera is much in the Rossini mould, this work can stand on its own and it is splendid.

   This recording from Opera Rara produces a great deal of excitement. Parry, conducting a major orchestra, does a marvelous job, and the Geoffrey Mitchell Choir comes through splendidly in a work where the chorus is far from being an addendum. Yvonne Kenny is outstanding as the lead soprano, with brilliant singing sending shivers of excitement down one's back. Diane Montague also does brilliantly, in a role that is difficult for a mezzo -- it was written for the last great castrato. Whatever castratos sounded like, using a mezzo - and one with a very womanly voice at that - does raise problems of making the plot come through, but that is probably inevitable when only an aural presentation is being made. I prefer the solution of using a mezzo to that of using a counter tenor. In any case, taken on her performance's own merits, Montague does a first-class job. Similarly, Bruce Ford is amazing - singing a role with a very wide range with aplomb. His is not the sweetest of tenor voices, but he brings vigor and musicianship as well as an amazing range to the role. Della Jones completes the list of outstanding performances; I found the others in the cast a bit weaker.

   Opera Rara chose to go with the first version of the Opera, even though Meyerbeer later revised it for a mezzo hero rather than a castrato. The producers make up for this by including a series of other material from later versions on the final disc.

   The booklet doesn't really doesn't justify the choices made in the main presentation. It is long on historical stamp-collecting and very short on analysis. If we are to hear about the original performers, then we need a discussion of what their voices were like and how they compare with those now assuming the roles. Otherwise - as here - telling at length who created the roles is just silly. But the booklet has the full libretto and that is all that really matters.




4. If you love Rossini or Donizetti or any other composer of 19th-century Italian opera, then this recording is an absolute must! Read the other two excellent reviews here to find out about all the details, and take their word for it. After listening to this opera (all 4 discs of it!) all I wish was that more of Meyerbeer's Italian operatic output was available on record. And so will you. Buy this or miss out! Opera recordings don't get much better. Bravo, Signore Meyerbeer.



5. Opera Rara has done opera lovers many invaluable services throughout the past two decades by reviving forgotten yet beautiful works on records. This recording of Meyerbeer's "Il Crociato in Egitto" is another jewel in their crown. As always, David Parry conducts with just the right combination of musicianship and authority to ensure that the recording never lapses into dullness even when the music fails to impress with its inspiration. On the whole, however, "Il Crociato" is quite an accomplishment. Meyerbeer is sadly neglected, and apart from Dame Joan Sutherland's lovely recording of his "Les Huguenots" and Marilyn Horne's "Le Prophete" (not to mention Opera Rara's nicely-balanced "Dinorah"), Meyerbeer is poorly represented in the catalogue of recorded opera. The orchestra and chorus are excellent (although the stage bands are a bit blaring at moments). It is the soloists that make this set so rewarding, though. With Yvonne Kenny, Diana Montague, and Della Jones contributing, the recording cannot fail to impress. Each of these singers displays her customary technical prowess, and the excellent Ugo Benelli continues to impress with his bel canto instincts--just as he did decades ago on his recordings of Rossini's masterpieces. Truly, Meyerbeer's composition here resembles Rossini. Tenor Bruce Ford makes this recording indispensible. Although his arias and ensembles are vocally fiendish, he never seems strained or even challenged. The most amazing moment of the recording comes in Appendix, when Ford assays an alernative entrance aria Meyerbeer composed for Adriano. Bruce Ford proves that Donizetti's famous aria containing nine high C's in "La Fille du Regiment" is not the epitome of stratospheric writing for the tenor. Top C's explode with every repeat of Adriano's melodic line, and Ford reaches remarkable heights (even above the top C) in the coloratura. Released to celebrate the bicentenary of Meyerbeer's birth, this recording is not to be missed. An awe-inspiring achievement!

3 comments about A Mediaeval Banquet: Music from the Age of Chivalry.

1. This is, musically, a wonderful set. But beware: there are no song text translations; a fatal oversight for six CDs of almost exclusively vocal music by composers to whom text was as important as melody, and in languages that don't exist anymore. In that regard, it was very disappointing.



2. Wonderful from start to finish, this set is quite a sampler, with enjoyable selections performed and recorded well. I suspect some accomodation is being made to the comtemporary listener here and some of the performances may not be 100% "historically accurate." But so what? I've been listening to this at home and while out and about on my iPod. There's quite a variety here which causes the set to avoid the "sameness" of many other sets of this type I've purchased. And the price is defnitely right, particularly for a used copy. What've you got to lose? Give it a shot!



3. If your just getting into music from this time period this is the cd for you. It gives samples of music that dates from the 1100s to the 1400s.

5 comments about Massenet: Cendrillon (Cinderella).

1. My main purpose in writing this review is to correct a previous review which infers the opera has seldom been performed in the late twentieth century. The New York City Opera production (in which Rudel was the original conductor) has been performed many times (in at least four different seasons) over three decades. It is being performed in the fall of 2007. Ruth Welting performed the lead about twenty five years ago.
   If it has seldom been recorded, it may well be because it would be nearly impossible to equal the work done here. The gorgeous fanfares of the first and third acts are thrilling and the equisite high range soprano arias in the second act whould melt anyone's heart. Everyone for whom I have ever played this recording has been enchanted!!!!



2. I love this opera! I've long liked Massenet a great deal but this opera has helped me to fall in love with the man! This music is some of the most gratifying music ever written. It never fails to entertain you, some parts are so beautiful they crawl under skin and leave your hairs on end in awe!
   I own a recent copy put out by sony that does not include a libretto but just a couple paragraphs...i bought it at amazon.uk for like twenty dollars where you can still get it for about the same...but i have'nt been able to stop listening to it since i bought it. It's haunting but not quite. I guess the best way to describe it is 'flowing' just like all of Massenet's music but this peice has a decidely more possitive feel to it. The only way to know how great it is, is to hear it.
   To hear it is to know it is to love it.



3. Unlike the reviewer above, I didn't mind Nicoloi Gedda as the prince, but then I have never heard another recording of this opera. So far as I can make out there has never been another one; in the latter 20th-century it appears to have been produced only once (the production that led to this recording). Apparently it was written in a style that went out of vogue shortly after the first production--in 1902 I think (which, incidentally, was highly successful)--as a result of which this gem has been horribly neglected. If you like the samples that Amazon offers, rest assured that the entire score is just as good, or better, than what you heard here.



4. This is a marvellous recording. Frederica von Stade floats the title role in exquisite detail, passage after passage sounding just right, with a French style and clarity that puts most native French singers to shame. Even the boring bits (and it would not be 19th c. French opera without long boring stretchs where one can catch up on gossip without loss) become exciting when she is involved. The Philharmonia and Ambrosian Chorus under Julius Rudel are also at their best, and since both have a lot of work, this is a real plus. While Nicolai Gedda is not a soprano, I am more sympathetic to the transposition than many listeners, and he does sing very stylishly, though I suppose he was in his 50's when this was recorded. Jules Bastien makes up for lack of beautiful tone by a characterful performance and Jane Barbie is a delight. But it is von Stade that puts this one into orbit. It is now my favorite Massenet recording. And overall it makes a very stong version of the fairy tale.



5. Massenet's beautiful lyrical opera is recorded here with an unequalled cast. VonStade is absolutely delightful, Ruth Welting is absolutely enchanting; her coloratura is unparalelled in all of opera and her career should have gone on forever. Gedda, while miscast, is exceptional in the role of the prince. The recording is a must for any opera lovers' collection.

2 comments about 900 Years - Hildegard von Bingen / Sequentia.

1. This is a wonderful collection of CDs. The early music includes plain song, male and female chant, and instrumental pieces. The package is gorgeous with Bizantine fresco art work on each jewel case. For those contemplating purchase, the group is composed of previous releases: Canticles of Estacy, Voice of Blood, O Jerusalem, Symphoniae, Ordo Virtutum, and Saints. These total $117.28 if you buy them individually so there is a real savings here. Those who are new to early music are in for a treat. This is music so old it is new, and as has been said, could be music of 900 years into the future. It is so other worldly, you are easily put into a meditative state. There is enough music here to fill your whole day with ecstasy.



2. When my daughter was born about a year ago I initiated the project of collecting some of the "better music" for her, fearing that if she was only exposed to my preferred music she'd end up being a bass player in a biker band someday. I started with the Mozart piano concertos, then went to lots of Bach and other Baroque masterpieces, even ventured into some Wendy Carlos, with her "Turned On Bach." I cringe to think how much I've spent in the last year, although I must say that the investment has been worth every penny. We actually have neighbors occasionally knocking on our door wanting to know what the music is which we are playing. It seems there is an untapped market for higher music. Well, suffice it to say that I was linked to this "900 Years" set from some other CD which I was contemplating and for some reason I was tantilized, without really knowing exactly what to expect.

   This music is divine, total heaven on plastic. It is prolonged euphoria. The ambience is so pervasive that it just seizes you, totally centers your focus, lifts your imagination. Without degenerating into too many additional cliches, let me just suggest that this music gives me a tremendous sense of well-being, a feeling which seems to be more elusive to me as the years go by.

   I've only played it through two times in the past month since I received it, as it is quite lengthy and I don't want to desensitize myself to it. I listen to it in the morning when I'm first waking up. It brings me blissfully out of the twilight of my dreams into the vast possibilities for a new day. If one doesn't listen closely a superficial criticism may emerge that the CD's all sound similar. Play them again when you can focus more on the music and this concern will disappear. I will mention as well that if you don't have a one year old running your household, as I do, this music will be absolutely perfect for you and your favored one to listen to in front of the fireplace.

   I don't have a sufficient command of the lexicon of this type of music to properly describe it to you: what comes to mind are floating feminine voices, clear resonant stringed instruments, it does indeed seems like the music of a thousand years ago, a thousand years from now. This is the music of eternity. I haven't yet read the substantive brochures which are enclosed respectively in each of the "jewel" cases, I'm afraid they may alter my interpretation of the music. If you're into that type of thing, however, I will mention that this is the best "packaged" box set I've yet purchased (of probably around 100). Each CD box has an outrageously beautiful piece of medieval art on it which perfectly compliments the music.

   My daughter? She likes it, even she seems meditative when it plays. I envision it activating all types of neurological pathways in her adorable little head. I shall concede, however, that she is still cuter when she is dancing playfully to Metallica.

No comments about Kalman - The Gypsy Princess (Complete)(2 CDs)(EMI).

5 comments about Rossini - Guillaume Tell / Bacquier, Caballé, Gedda, Mesplé, Kovacs, Howell, RPO, Gardelli.

1. Written and produced in Paris in 1829, this is Rossini's last and grandest opera. Based on a play by Schiller, this opera is almost a compendium of Romantic themes. The tenor hero is a young revolutionary fighting foreign occupiers on behalf of the common people, in love with a princess of that same occupying power who renounces her country and station to fight for the common people beside the man she loves. The pastoral setting is majestic and full of grandeur, reflecting the noble cause for which they fight and is held up as an example of all that is good. You name it, they've got it! And Rossini wrote some of his best music for all of this, packing the opera with memorable tunes that reflect the themes of the play and are themselves reflected in national songs and less exalted music worldwide (think of the Lone Ranger's theme music.)
   Despite all of this, the opera isn't often performed. The reasons rapidly become clear. It lasts almost five hours, requires immense and incredibly elaborate sets (how do you get an alp AND a lake onstage and at the same time?), and further requires an incredible cast, with a large chorus, two major soprano roles, (the aforementioned princess and the trouser role of Tell's son), a mezzo role, a large and low-lying baritone role (Tell himself), two good-size bass roles, and one of the most difficult tenor roles in all opera. The tenor role is placed very high in the voice, (it's sprinkled with high-Cs--one aria has seven by itself!), and requires a singer who can be sweet and lyrical and a minute later ardent and heroic. Pavarotti famously refused to make his La Scala debut in the role, fearing (probably correctly) that it would simply shred his voice, and Gedda only sang it once on stage.
   Fortunately there are two excellent recordings of the opera to enjoy. One is sung in Italian, conducted by Ricardo Chailly, with a stellar cast including Pavarotti, (who said it was his best recorded performance ), Freni, and Milnes. The other is this recording, made in 1973, which is the only recording of the opera in the language in which it was originally written.
   Briskly and clearly led by Lamberto Gardelli, this recording stars Gabriel Bacquier as Tell, Nicolai Gedda as the heroic tenor, Montserrat Caballe as his Austrian princess, and French lyric coloratura Mady Mesple as Tell's son. The Ambrosian Chorus's French diction isn't the clearest, and it seems a bit odd to cast a Spanish soprano in this very French opera, but Caballe sings divinely. And the other three are native French speakers. I have always been a fan of Bacquier, who had a long and distinguished career, and he handles the title role with distinction. Mesple was an underrated coloratura, and she brings a clear liquid sweetness to the role of Tell's young son. Although Gedda was getting on a bit when he made this recording, and some of the high notes sound a little forced, he brings his ever-present elegance and refinement to the role. He is a superb stylist and his musicianship is incredible. The London Philharmonic plays with clarity and gusto, the stereo sound is clean, it comes with an excellent booklet containing the libretto, some pictures, and an excellent essay on the opera, and the price is very reasonable.
   While the Italian recording is also terribly exciting, and Pavarotti brings a dramatic urgency to his role, (singing it a little faster than Gedda does), I really like hearing the work in the language for which it was written. I think it works better. After all, Rossini wrote his music to fit the existing words, in French. This recording belongs in every collection, large or small.



2. I could not believe the reviews written before, I had the feeling I must have got a different recording, but I did not !!! The sound engineer should have been punished. How you could enjoyed e.g. the first act finale, if you can not hear soloist at all, but event lesser challenging parts as Mathilde + Tell duet`s sound is such a strangely ballanced. What a pity, such a beautiful music and masterpiece.
   But Nicolai Gedda voice here could be saved by anyone, he is here such an asexual and fade tenor it is really difficult to imagine him as any revolt leader.....
   Sorry, but the recording is only the first identification with one of the Rossini best opera and I will have to look for some better set.



3. I only have to say that you should buy this recording which is cheaper than other, is the only studio rec. in french and is uncut. This version is nearly what Rossini intended to create. Caballé and Gedda, have sung a lot, but a lot, of opera with succed, and this is one of the defitive recording they have contributed. But, as I do, I prefer listening an old rec. like Taddei-Carteri-Fillipeschi's, and later listen a complete version like this one, to identify the cuts.



4. I have this opera and the Italian version with Pavarotti on vinyl.They are both outstanding and I could never choose between the two. On this set, the conductor, orchestra,and singers are first rate. Ensembles,duets and solos are a pure joy to listen to.This is a recording that you will want in its entirety; it is simply too good to have as a "highlights" disc. Anyone who loves great music and gorgeous singing should treat themselves and give this set a try.



5. This is the very best recording of Tell that exists. There are others of live performances (in French and in Italian, all heavily cut), and a wonderful complete version (minus most of the ballet music) in Italian with Pavarotti. Though the Italian version is very interesting, very exciting, and very thrilling in many ways, it is NOT the opera that Rossini wrote. He wrote French Grand Opera at its grandest. This opera, along with La Juive, Les Huguenots, and Auber's Opera where the heroine is "danced" rather than sung, are considered the chief cornerstones of all French Grand Opera. As exciting as Tell is in Italian, it becomes quite a different work in its original French. A great refinement paints the very vivid score.

   It is a very long work, and in spite of its length actually holds together quite well. As with all Rossini, there are little touches that simply make a scene, but don't draw any real attention to themselves. The vocal writing is much less florid than it was in his Italian operas, but no less moving. This opera was the opera that changed singing (at least for tenors) forever. It was in this opera that Dupres sang his famous high C from the chest (Nourrot, the creature of the role, sang it in head voice, and that is the only way Rossini liked hearing it; the public, however was hooked on the High C from the chest). We are hearing a wonderful performance in this recording, and it is virtually complete (including the ballet music). Each character is well sung, and for once we can actually understand French when it is sung. There is a difference in this French version and the Italian one with Pavarotti. In this version, Act 3, a duet occurs between Matilde and Arnold. In the Italian it becomes an aria for soprano with a tenor interjecting now and again. In the French it is a real duet, even with the very extended aria sections for the soprano. Caballe sings to perfection in this recording, and in my view, outshines Freni (who sings Matilde in the Italian version) by a long way.

   However, the opera is judged (and Heaven knows why, for all the main characters are of equal importance, and with music of equal difficulty) not by the lead baritone (singing Tell), but by the tenor, Arnold. It was actually for want of a qualified tenor that a contralto premiered that role when it was first performed in Italian, shortly after the French Premiere. Gedda is getting on in years, sadly, but he is still a wonderful presences to recon with. He sings wonderfully, and with little strain, though the bloom of his youth is not there (and Arnold should be an ardent young man). In the Italian verions with Pavarotti, Arnoldo is sung with more raw energy, more abandon (suitable to Italian opera), but with less refinement. Gedda is still "THE ARNOLD."

   There are other versions out there in French (one with Chris Merrit), but usually they are live performances, and well, for some reason the work does not hold together, nor does it seem to escape becoming boring. Usually this is because of the cuts that are used, which ruins the proper flow of the work. I would avoid the live recordings, even if they claim to be in French and "the world's first recording of it." The first recording of this magnificent opera in French is THIS RECORDING, and there are NONE others that come close to it in any way.

   If you wish to really hear what Rossini wrote, and come to understand what he was intending to do, this is the recording to buy. Fair warning, though, the work is extremely long (though not longer than Wagner) and until you are fully comfortable with the style, listen to it in installments. Then when the work is deeply set in your heart, you can listen to the entire thing non-stop, and truly enjoy one of the most wonderful operas that was ever written for the Paris Opera.

5 comments about Glinka: Ruslan And Lyudmila.

1. Like many people, I am familiar with the overture to Ruslan and Lyudmila but have never heard the opera. Mikhail Glinka's reputation as the father of Russian opera rests on just two works: A Life for the Tsar and Ruslan. Of the two, Ruslan is Glinka's masterpiece, but it was not recognized for what it was at its premiere in 1842. The lukewarm greeting poisoned Glinka's mind against writing another opera and it is said that he left Russian in disgust for Germany never to return. The orchestration is very colorful and vividly creates the mood of the story. Glinka included parts for piano, harp, tambourine, glockenspiel and glass harmonica.

   Glinka poured all of his genius into this charming magic-opera, based on a mock epic by Pushkin. What makes the opera fun are the fantastic elements in the story with no less than three magicians trying to turn events in their favor. The story is a bit convoluted but here goes a synopsis: Lyudmila is about to be married to Ruslan when the sorcerer Chernomer abducts her. Ruslan, and two other former suitors Ratmir and Farlaf, set out to rescue her. A good sorcerer named Finn helps Ruslan and Farlaf, a cowardly knight, happens upon the sorceress Naina who agrees to help him defeat Ruslan. Ruslan himself has an adventure confronting an enormous head that is the brother of Chernomer that is guarding a sword that was predicted to be the weapon that would kill Chernomer. Ruslan kills the head and takes the sword. Naina attempt to Ratmir and Ruslan to her magic castle to kill them but she is thwarted by Finn who breaks her spell. Ratmir and Ruslan join forces to save Lyudmila. When Ruslan confronts Chernomer, Lyudmila, is put under a magic sleeping spell. Ruslan has no difficulty dispatching the wizard with the sword but the spell cannot be broken. The sleeping Lyudmila is adducted, yet again, by Farlaf, who is, likewise, unable to break the spell. Finn comes to the rescue by giving Ratmir a magic ring that wakens Lyudmila when it touches her. The opera ends with general rejoicing.

   This recording of the opera by Valery Gergiev and the Kirov is a live performance, which lends some additional excitement to the action. The audience is quiet except for applause between the scenes and at the end of the acts. This is a dream cast with Anna Netrebko as Lyudmila, Vladamir Ognovienko as Ruslan, Galina Gorchakova as Gorislava, the lover of Ratmir, Larissa Diadkova as Ratmir and Konstantin Pluzhnikov as Finn. The Kirov Orchestra is simply superb in their energetic playing and beautiful phrasing. This is definitely an opera to have.




2. As a country, we have been truly unfortunate when the proletariat such as moskvich came to power in 1917 and has effectively wiped out the intelligencia. Had it not been for people like this, the two theaters could enjoy a fruitful working relationship, utilizing the talent of Mariinskiy (Kirov) and the experience of Bolshoi. Truly a shame.
   The recording at hand has much overlooked bass Vladimir Ognovenko as Ruslan and the talented and beautiful Anna Netrebko as Lyudmila. Ognovenko's bass at first would seem too sonorous for the role of youthful Ruslan, but he manages a fiery rendition of "Dai Perun mne mech bulatnyi" cabaletta where he shows that a bass can be cast in parts other than "dads, bads, and priests". This Ruslan also has the best Farlaf (cowardly knight) on record - Gennadiy Bezzubenkov. Ratmir is sang by Larissa Diadkova, whom Opera News rightfully calls The Enchantress. Even the supporting roles are done by great singers, e .g. Michail Kit as Vladimir, Lyudmila's father.
   I would like to recommend folks who are relatively new to Russian opera to read a translation of Alexander Pushkin's poem prior to listening to the recording. You'll find the most fascinating aspect of it - Chernomor, the evil wizard is played by... the orchestra. Enjoy!

   Vasiliy Nikolaevich Nikitskiy




3. .... I would like to point out that the only good thing about this Leningrad version is the conducting of Gergiev, which is, by the way not better than Simonov's and especialy Kondrashin's. That is obvious, since Gergiev is an Osetian, and not a Slav in any way, and there is nothing worse than foreigners trying to uncover the Russian soul. Since the whole Mariinsky company has one bass, Bezzubenkov, they try to feature him in most recordings. There was a very good singer from Kazakhstan, Bulat Minzhelkiyev, but he died a few years ago. Ognovenko, who without question is much more a baritone than bass, sounds not like Ruslan, but more like Liudmila's great-grandfather, since every time he opens his mouth, we get an impression that we hear a ninety year old. Without question, for him the best role to sing would be Pimen is Boris Godunov. Netrebko, who looks very well, and is, without question a very charming girl, just can not fully understand Liudmila's character. She sing all right, but her acting skills are far from the level of her Moscow collegues. On the other hand, the character roles are sung very well by Pluzhnikov, who can't help sounding a little like Shuiskiy, and Bogachova. Gorchakova, one of the most over-rated singers in the world today, is nothing compared to Vishnevskaya, Milashkina, Kasrashvili and Kalinina. The Gorislava of Nina Fomina on the Bolshoi version is far better. When you listen to this version, you get an impression, that you are listening to a very bad Russian-language version of a mixture of Mozart and Rossini. All of the singers on this set lack the russian "matalic" vibrato. In fact, this sounds like cheao Italian bel-canto. The truth is, the modern Kirov is a theater of one conductor. Unfortunately, after the so called democrats got control over power in the country, the Bolshoi lost a lot of money, which he got from the cultural communist, and a coucasian businessman known as Gergiev quicly invited some singers to his theater and took them a few trips abroad. The Bolshoi singers are even now on a higher level. As I said earlier, the Kirov does not have good basses - Bolshoi has Nesterenko, Matorin, Glubokiy, Mikhailov and Nizenko. The only worthy baritones in Lenngrad are Putilin and Gerello, while Moscow has Redkin, Bukin, Vedeneyev, Murzayev and Nechayev. The tenors in the Kirov are not that bad - they have Galuzin, Marusin and the young Akimov, but the Bolshoi has Tarashenko, Maisuradze and a very young Andrey Dunayev, and of course Zurab Sotkilava still appears on the stage. If you are interested at the real jewels of Russian vocal music, buy the "Russian Season" Bolshoi recordings.



4. What a fantastic recording. I love Russian opera...and this recording marks the 11th in my Russian opera series...and is quite different. I was quite shocked...after all Glinka was the father of Russian opera. Although it laid the foundations for Tchaikovsky, Moussorgsky, Rimsky-Korsakov, Borodin, Prokofiev, etc...it is much different from their works.

   This is Belcanto, something I was not expecting- exciting and beautiful...you can definitely hear the Donizetti influence here. Even Bellini and Rossini. Quite thrilling in fact. Very entertaining...one wonderful melody after another....glorious. Music is beautiful, cast is wonderful. You just can't go wrong with Gergiev at the helm of the Kirov.

   Most recommend in the Russian canon, along with Boris Godounov and Lady Macbeth of Mtsenk!




5. After Mikhail Ivanovich Glinka enjoyed the success of his first opera "A Life for the Tsar" (1836), he set his sights on his next operatic project, "Ruslan and Ludmilla" (based on Alexander Pushkin's mock-epic story). The score, which Glinka started in 1838, was finished by 1842. The premiere took place on November 27th of that year and unlike the premiere of "A Life for the Tsar", Ruslan and Ludmilla" generated more of a mixed response from the audience and the critics alike. While some praised Glinka's use of Russian and Caucasian folk music and his vivid and imaginative orchestration, others criticized the work for its lack of drama.
   
   Yet on the other hand, "Ruslan and Ludmilla" became a very important work for the next generation of composers. Tchaikovsky called the work "the tsar of operas" whereas Mily Alexeyevich Balakirev and his group (the Russian Five or Moguchaya Kuchka) used the opera in advocating the essence of nationalism in writing Russian music. Balakirev effectively pointed out the orientalism in "Ruslan and Ludmilla" in furthering the cause against western cosmopolitanism. In fact, "Ruslan and Ludmilla" was Balakirev's bible of sorts and generations of composers after the 1880s understood the importance of Glinka's work for the sake of Russian art thanks largely to Balakirev (although "A Life for the Tsar" was the first to use Russian folksongs).
   
   Curiously, compared to "A Life for the Tsar", "Ruslan and Ludmilla" fared less well in recordings, even though performances of these operas are few & far in between. The 1952 recording featuring Kyrill Kondrashin and the Bolshoi was among the earliest recording of the score (Samuel Samosud recorded it earlier, in 1937, and it is considered by many to be finest version ever, even with cuts made during that performance). This gem of the work had to had to wait until 1983 for another recording, that of Yuri Simonov and the Bolshoi (again, with minor cuts). A twelve year gap separates that from the 1995 Kirov production with Gergiev on the podium. And it is this maestro who, like Kondrashin earlier, remains totally faithful to the full edition of the score.
   
   As for the performance, Gergiev and the Kirov Orchestra and Chorus come up huge, with plenty of excitement & absolute vividness. Only Kondrashin and the Bolshoi places a bit more of an élan in that vintage recording while Simonov's take is memorable to say the least. The singers overall are spectacular in this Philips recording. Anna Netrebko is probably the best Ludmilla currently on record while Vladimir Ognovienko (in Ruslan) gives the character more of a purpose (in finding the abducted Ludmilla). Irina Bogachova (as Naina) and Galina Gorchakova (as Gorislava) sing with warmth and intimacy with such professionalism and admiration for Glinka's fantastical score (as with the rest of the cast).
   
   But the legendary though largely forgotten singers in the Kondrashin/Bolshoi recording scores even higher. The steller cast of great singers, which includes Ivan Petrov (Ruslan), Vera Firsova (Ludmilla), Georgi Nelepp (Finn), Aleksei Krivchenya (Farlaff) Yevgenya Verbitskaya (Ratmir), and Sergey Lemeshev (Bayan), sang with a marginally greater sense of panache & artistry than the current version here. That recording was re-issued briefly by Voce della Luna label (VL 2006-3) under Jem Music Corporation from the original Melodiya recording) and it's to me the most special of the recordings ever made.
   
   That said, the Philips album, with great sound and presentation, is highly recommended. But for me, the Kondrashin/Bolshoi recording takes first place.

5 comments about Wagner, Der Ring des Nibelungen (Wilhelm Furtwangler, Italian Radio 1953, EMI).

1. There is not really much that I can add on to what other reviewers have already said, but I can chime in regarding the different issues of this cycle. Considering the limitations of the source material the Gebhardt edition sounds amazing! I would advise you in a heartbeat to chose that one over this EMI issued set. Whatever remastering tricks they employed did the job, and did it well. There is a lot of transparency with the orchestra and splendid details of the score emerge that I have not heard before. this could also be due in part to his rather slow tempi, which by the by work quite well. And the RAI orchestra? Well, why they are slighted and ridiculed to the ends of the earth I do not know. But their playing is perfectly fine. Perhaps, not up to the caliber of other premier league orchestra's but they produce some wonderfully idiomatic playing that transports you to this world of Gods, Heroes, and cursed rings. Even if you own others, this should be on your shelf.



2. Okay, so we have the Furtwangler, Krauss, Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, Sawallisch, and Barenboim 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):
   Furtwangler's Ring: 15 hours, 0 minutes
   Krauss's Ring: 14 hours, 10 minutes
   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
   Barenboim's Ring: 14 hours, 50 minutes
   
   YEAR(S) OF RECORDING
   Furtwangler: 1953
   Krauss: 1953
   Solti: 1958-1965
   Bohm: 1967
   Karajan: 1966-1970
   Goodall: 1973
   Boulez: 1980
   Janowski: 1980-1983
   Levine: 1987-1989
   Haitink: 1988-1991
   Sawallisch: 1991
   Barenboim: 1991-1992
   
   CONDUCTING:
   Furtwangler: The 1953 RAI Ring should be a must-have (even if you have another Ring on your shelf). Yes, it's true that Furtwangler favors slow tempi, but he makes even the slowest of his tempi intense and spine-tingling. Just listen to how he handles "Hagen's Night Watch" and "Descent/Ascent into/from Nibelheim". Now you can't call that atrocious, can you? I should remind you: there are two different box sets for this RAI Ring, one from EMI and one from Gebhardt. Best take the Gebhardt version because it has much better sound than EMI.
   
   Krauss: This is the first Bayreuth recording of the Ring, and it sure is one hell of an interpretation. Unlike Furtwangler, maestro Krauss goes for quicker tempi and greater suspense. Compare his "Siegfried vs. Fafner" and "Waltraute's Narrative" to later recordings and you'll see that he is a musical champion. There are about four different box sets that are out there right now, but you will only need one: the Opera D'oro release.
   
   Solti: Everyone knows that this is the first studio recording of the Ring. And everyone knows that Solti has become a famous name that's attributed to this. Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His "Donner's Song" & Gotterdammerung Preludes are clear examples: they're annoyingly loud and 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 Rheingold Prelude). I especially like his "Flight of the Valkyries" & "Forging Scene"; 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 "Brunnhilde's Awakening") are controlled nicely. His "Entrance to Valhalla" and "Funeral March" 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 "Immolation". 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 better 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 Boulez's). Rheingold Scene Four can be best described as "sensational".
   
   Levine: This conductor has his own fair share of lyricism, too. Only, his lyricism is softer and much slower than Karajan's. Sometimes you'll be annoyed at his plodding tempi in parts such as "Wotan confronts Siegfried" or "Loge confronts Alberich", but you'll be amazed by the stunning splendor of "Annunciation of Death" and "Forest Murmurs". Be on the sharp lookout, also, for Levine's perfect "Erda's Warning".
   
   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.
   
   Barenboim: It's hard to describe Barenboim's Ring. I believe that he uses a little bit of everything: bombast, lyricism, intensity, beauty, fast tempi, slow tempi, measured phrasings, yada yada yada. And he uses all of them so well, that this Ring ranks with Furtwangler, Krauss, Bohm, and Janowski as one of the greats.
   
   ORCHESTRA:
   Furtwangler's RAI Rome: I think that much of the criticism that's been given to RAI are simply insensitive. Yes, it doesn't rank with other, more experienced orchestras, but what you get is the final result of what the great Furtwangler wanted. Woodwinds in "Wotan's Farewell" are marvelous, the brass in "Wotan Summons Erda" simply stunning. Maybe if people listened to the Gebhardt release instead of the EMI, then they would appreciate the orchestral playing a bit more.
   
   Krauss's Bayreuth Festival: Due to limited rehearsal time, the orchestra sounds robotic a few times. However, that's only a minor flaw: there's everything that you need for a 14-hour Wagner opera. From the thunderous brass to the smooth woodwinds, from the loud percussion to the saintly strings, it's [almost] everything that you need for a Bayreuth performance. "Magic Fire Music" in mono sounds even better than Barenboim's "Fire Music" in stereo.
   
   Solti's Vienna Philharmonic: The woodwinds aren't really the most beautiful in Solti's Ring, but they are still a plus. French horns and Wagner tubas make this a recommended listening. The strings 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 some of the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Scenes involving Erda and Three Norns aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tension. Overall, this orchestra is the most energetic.
   
   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 Act Two Scene One sounds very mysterious, very eerie.
   
   Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. "Forging Scene" doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest; Act Three Prelude is the dullest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
   
   Boulez's Bayreuth Festival: Boulez turns this orchestra into an almost chamber orchestra (like Karajan's). 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 Rhinemaidens' motifs) fares better than Berlin's, but is crushed when compared to English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness.
   
   Janowski's Staatskapelle Dresden: This orchestra has only half the force & flair of Solti's Vienna, but Dresden sounds much clearer due to the fantastic digital sound. All the minor details that are found nowhere else are heard in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Karajan'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 a bit 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, because it sounds just as poignant. While the woodwinds are not as good, 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.
   
   Barenboim's Bayreuth Festival: Do I really have to tell you that Bayreuth in the really 90's still went strong after all these years? Do I really have to tell you that the brass and percussion are kept under control, and that the strings and woodwinds outstrip Berlin and Bavarian Radio? Do I really have to tell you that almost everything is as it should be? . . . Fine.
   
   SINGERS:
   -Wotan
   Furtwangler: Ferdinand Frantz has something that other Wotans can't touch. Maybe it's that when he sings "Abendlich strahlt der Sonne Auge" he makes people swoon (back in the day, of course). Maybe it's that when he sings "In eig'ner Fessel fing ich mich" he scares the hell out of people. I think it's that when he sings "Auf wolkigen Hoh'n wohnen die Gotter" amazement spreads like . . . I can't think of a perfect simile at the moment. So anyway, Frantz is a great Wotan.
   
   Krauss and Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Solti's Rheingold, in which a less stellar George London performs). It's true that he gives an utterly heartbreaking performance during "Der Augen Leuchtendes Paar", and it's true that he was well past his prime when he did Solti's Ring (but don't let that stop you from listening to his classic "Dir unweisen ruf' ich's in's Ohr"). Makes me wish I heard Keilberth and Knappertsbusch's Ring recordings sooner.
   
   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 ("Der Augen Leuchtendes Paar" is wobbly), 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. I enjoyed his singing during Siegfried Act One.
   
   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 and McIntyre pretty much throughout both Rings. His multi-dimensional performances are compelling in Walkure. "Nicht send ich dich mehr aus Walhall" should not be missed.
   
   Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his "Leb Wohl, du Kuhnes herrlisches Kind" wasn't enough to astound me.
   
   Barenboim: The rough, deep voice of John Tomlinson should keep people up during the night. You can tell right away after his entrance in Rheingold that he will be flawless later on in Walkure and Siegfried. No, he is not Hotter. And no, he is not horrible.
   
   -Brunnhilde
   Furtwangler: The only thing that Martha Modl's voice lacks is sensitivity. She's rough, she's sensuous, she's lyrical, and that's pretty much it. There seems to be no innocence or intelligence in the voice. But I could be wrong, since my ears are different than everyone else's.
   
   Krauss: Astrid Varnay matches Martha Modl, only that she is the one that has innocence in her voice. She gets five out of five stars from me.
   
   Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her "Soll fesselnder Schlaf fest mich binden" 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 Siegfried and 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".
   
   Barenboim: It sure feels like a cycle when Anne Evans sings as Wotan's favorite daughter. In Walkure, she sounds like a young girl, but as the story progresses, so does she. Her voice and personality changes dramatically during the Gotterdammerung Prologue and especially during the final days of the Gods. Absolutely striking.
   
   -Siegmund & Sieglinde
   Let's see. For the Siegmunds, we have Wolfgang Windgassen for Furtwangler, Ramon Vinay for Krauss, 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, Robert Schunk for Sawallisch, and for Poul Elming for Barenboim. For the Sieglindes, we have Hilde Konetzi for Furtwangler, Regina Resnik for Krauss, 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, Julia Varady for Sawallisch, and Nadine Secunde for Barenboim. 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. Two exceptions, though: Goldberg doesn't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
   
   -Siegfried
   Furtwangler: I'll just describe the singing of Ludwig Suthaus in three words: Oh So Good!
   
   Krauss and Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in the latter renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming. Be careful, though: during Krauss's "Forging Scene" he makes tons of mistakes, but they'll get used to later on.
   
   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. I like him better when he's performing as Mime in later Ring productions. 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 and Barenboim: 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 in both renditions. Bravo!
   
   -Alberich
   Furtwangler and Krauss and 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?"). Reminder: In Furtwangler, Neidlinger is replaced by Alois Pernerstorfer in Siegfried and Gotterdammerung.
   
   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 . . .
   
   Barenboim: Gunther von Kannen doesn't completely eclipse Neidlinger and Wlaschiha, but he joins in with Nimsgern and Hammond-Stroud for his humane performance. "Bin ich nun frei?" was good, but not great.
   
   -Mime
   Furtwangler and Krauss: What do Julius Patzak (F) and Paul Kuen (K) have in common? Why, they both sing their parts without any caricaturing in the way. They both sound luminous and painless in every way possible. Kuen is slightly below Patzak's level, but that's okay. They're both excellent Mimes.
   
   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. But of course, Stolze's truly unsettling caricaturing of Alberich's brother will catch on after repeated listening.
   
   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 just above average, 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.
   
   Barenboim: Graham Clark is also like Schreier and Zednik. he's very VERY good. Again, nuff said.
   
   -Loge
   Furtwangler and Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegmund/Siegfried AND Loge? The demi-god needs to sound different from a Walsung, or a son of a Walsung. All in all, a Loge that's marred by lack of cunning.
   
   Krauss: When listening to Erich Witte's Loge, I kept thinking to myself, "why doesn't he sound like Windgassen, and not a Norse clown?" I don't know, maybe Loge (or Loki) isn't supposed to sound like a clown, but maybe he is. I guess it's all up to the conductor's casting choices.
   
   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 greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
   
   Karajan: Gerhard Stolze is easily one of the most entertaining Loges 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! Scene Two is when he's at his finest.
   
   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 imagination and deviousness, Stolze only vengeance and deviousness, Windgassen and Witte 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.
   
   Barenboim: Graham Clark? Well, he's no Gerhard Stolze, but he does stay in tune with most of the music in Rheingold. "Immer ist Undank Loge's Lohn" will certainly be somewhere in the top.
   
   -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 Christa Ludwig is the most brilliant Fricka (Bohm and Levine). Levine contains the most memorable Gutrune of Cheryl Studer, while the most brilliant Valkries are found in Krauss, Bohm, Boulez, and Haitink. Goodall, Boulez, Janowski, and Sawallisch contain the best Freias, Frohs, and Donners. The Norns and Rheinmaidens do a splendid job in Furtwangler, Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Boulez, and Barenboim. 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 Neuhold's Badische presentation, Haenchen's Netherlands version, and two more mono recordings (Keilberth and Knappertsbusch), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the legendary Furtwangler, the undeniable Krauss, the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, the serious Sawallisch, and the futuristic Barenboim Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.



3. Other reviewers on this page have commented on the flat orchestral sound that results from EMI's excessive filtering. And perhaps that's one of the reasons why it has always been claimed that the RAI orchestra is inferior. The German label Gebhardt has released a 24-bit remastered version of this recording that simply explodes with sound, especially from the orchestra. It is now the version to own. (http://www.amazon.com/Wagner-Ring-Nibelungen-Spoken-Word/dp/B000BUEGK4/sr=1-4/qid=1170558863/ref=sr_1_4/002-8222288-6929600?ie=UTF8&s=music)
   
   If you already own the EMI version you'll appreciate the difference. EMI's sound is smoother, with less hiss, but dull and flat - all a result of their filtering. Gebhardt's sound is more raw, but far more realistic and alive. Furtwangler was the greatest interpreter of the Ring and this performance, even more than the 1950 La Scala Ring (which has also been remastered by Gebhardt), is his greatest on records.



4. If you do not find this Furtwängler RAI Ring one of the most moving recordings you've ever heard, you are not a true Wagnerite. Yes, it would have been wonderful had the conductor lived long enough to complete the EMI studio Ring begun so well with Die Walküre, but we should be greatful for this RAI performance, recorded an act at a time. All participants are in marvelous vocal estate. Suthaus is a terrific Siegfried, Mödl a mvoing Brünnhilde and Frantz a magnificent Wotan. Furtwängler's way with the score is inspired, on a par with (if not surpassing) Keilberth's 1952, 1953 and 1955 Bayreuth performances. The sound is decent mono ... and the performance I consider essential. At this price, how can you pass it up?



5. Wagner the very first modern, a composer not in debt to Beethoven, except in the early operas, but certainly no influence of Beethoven in Parsifal, Tristan, Ring, now that we have that out of the way....
   I have Keilberth's 1952/Archipel, Keilberth's 1953/Andromeda and had at one time the Krauss 1953/Gala release, btw the Krauss I see has been just re-issued. I no longer own the Krauss, it was a damaged set I bought, and gave it away, I have no desire to re-purchase it.
   You can find a few comments I made on the 2 Keilberth recordings here on amazon. Both of which refer you to this recording, as my final comments on these 3 Ring recordings.
   How I came across the Keilberth 52, then the 53, is a long story, but luckily I choose both over the dozens of other highly recommended recordings.
   No one mentions the 2 Keilberth, and there is good reason why that puzzling situation is so. Very few folks have even heard the recordings, yet these same "experts" make bold and daring comments on all the other avaliable Rings, you know "The Popular Ones" (hyped-over)
   Now to return to this Furtwangler recording.
   I wish to make a few comments on the many reviews given here.
   
   Brown/Dec/02: On his preference for mono over stereo, I also agree. Always I have prefered Mozart's operas in mono, the 50's/Furtwangler, Bohm over modern stereo. Mono gives one a feeling of integrity and wholemess, as if the music and casting are all spun from a single fabric. I do not wish for clear high toned sound, but prefer the 360 degree image that mono provides.
   Though obviously poor mono sound like the 53 Krauss is totally unacceptable.
   Brown also correctly points out that this Furtwangler RIA/Italian orch is in fact not an inferior orch as some would have us believe. This RAI orch is on equal/surpassing at times the Keilberth 52 and even the ever-so- slightly better 1953/Keilberth Bayreuth.
   IOW this is a fabulous orch...and agin as I'm listeng its possible I prefer this to both Keilberth's....Furtwangler is for me genius here and in Mozart's operas.
   
   Adidaire/June/2000: "you actually hear phrases and sounds that other recordings fail to bring out" Correct. Furtwangler's genius comes alive.
   
   Alexksander/June 20/05: makes mention that though there is no libretto, one can be purchased online. I suggest you go to Able Used Books and look up Andrew Porter/english translation of the Ring.
   He also mentions that this mono is not satisfying, abit "dry". As I mentioned above I prefer mono much more over stereo in opera, and this mono is on par with both Keilberth, and far surpasses the Krauss 53/muddy sound there. The old mono recordings in opera give one a image of a 'complete" world, a rotundrum as Jung uses the idea. A mythical, mysrery sense enters in, as orch and voices blend close together.
   
   Queen Margo: "Krauss is my second choice". Well not for me, and you'll have to make up your own opinion if you care to. Though the Krauss is acclaimed by many as "simply and clearly the finest EVER", You'll just have to go and buy the newly re-released Krauss and decide for yourself. I',m not going to get in any argument with the die-hard Krauss fans (diehard , meaning they refuse to even consider the 2 Keilberth(at least Todd has heard the 52, but not the 53, and doubtful he has heard this Furtwangler), and Gramophone places the Krauss as "possible the finest". You will have to hear the 4 and make up your own mind.
   Obviously the Queen has not heard either Keilberth.
   
   Hadijimins/Feb 22/05: I agree with him that digital "remastering" of old classics can take the life out of a recording, as he correctly points out, "the depth is gone...flat". This is so true,a s remastering "Filters out the impurities" but in so doing filters out that sparkle of "life".
   He goes on to mention this EMI recording " instruments lack natural timbre"
   True it is abit flat, but I suggest you try a tube amp, which does help in cases like this.
   
   A Music Fan/Feb8/05: "In short this Furtwangler Ring lives due to its highly dramatic character...and isn't this what music is all about?" Nicely said, Furtwangler breathes life into Wagner's masterpiece. If you've heard Rings that caused you to lose interest in the "dull parts", not here, Furtwangler makes the Ring come alive throughout.
   
   
   I guess you would wish I go into more details in comparison between the Keilberth July/1953/ANdromeda and this Furtwangler/EMI/Oct-Nov/1953...how about that, both from the very same year, the Keilberth live and Furtwangler's studio.
   That is quite a surprise, as I always prefer live vs studio, if given the choice...
   I will not go further in details between the 2, thus bringing my comments to a place that I would seem to prefer one over the other.
   All I will say is that the Furtwangler/1953/EMI and Keilberth/1953/Andromeda are in my opinion, the 2 finest Rings on record.
   Now I am aware that statement does not go over very well with the devoted fans of other Ring recordings, so you will have to make your own research and thus search and discovery for a superior Der Ring Des Nibelungen.
   feel free to contact me for questions, if I can be of help.
   EDIT:
   I see in the notes the mention that this was a "Live" recording, IOW it was live as far as a audience was there at the recording, but not in the sense as a full stage production.
   So it would seem my belief that live is prefered over studio.
   In this case the casting was allowed to have movement on stage, and not as are PURE studio recordings where the cast just stands in front of a mic, here we have real action, which brings in that live feel. w/o all the coughing and audience noise.
   Also would like to add, tgough I'm sure every other Ring besides the 2 I mention, all have their merits, some stronger than others.
   However in these 2 recordings we witness the "most consistent" in craftmanship. "most consistent" is not an appropriate qualitative term for these 2 productions.
   If I may be allowed to use a word that fans of other recordings may gasp in horror, definitive(I did not say perfect) would be my final word on these 2 1953 recordings.
   
   You ask: How can everyone be right at the same time/as the fans of Bohm, Solti,Krauss,Knappertsbusch, EVEN! Levine all claim "this is one of the best/absolute" etc with high praises.
   Well if you can afford it then try their suggestions. But like most of us, its not easy to budget in a set that runs anywhere from $100-$250(KNA's/Melodram)
   It will not be an easy decision for you, as it was not for me.
   But I feel my diligent and timely research has been very very rewarding.
   
   Oh btw, go read the 30+ reviews on the Karajan set.
   Notice something, not one of the 30 make mention of either Keilberth and maybe 1 or 2 make slight mention of Furtwangler.
   Doesn't that raise a red flag?
   Does for me, when folks go spouting off high praises w/o considering other sets.
   Hype in ignore-ance.
   Besides ck out any review, Solti, Bohm, Levine etc etc, especially the Krauss/53 and see if anyone mentions the Furtwangler and Keilberth's.
   Doubtful. Which is always the case.
   99% of my cd collection was built by my hard work in research, might take me 1 to 20 hours of work before i decide which recording i'll take a chance on...
   
   btw you can read more comments on this finest of all Rings, on the Gramophone discussion forum, go to Recent Purchases topic, then look scroll down to the recent post of Furtwangler's 1953 Ring.
   
   As we know Wagner was the first modern composer, with his sonorities so beautiffuly expressed in his 3 best operas, The Ring, Parsifal, Tristan. His other operas are stuck in a rigid classical period, so not to my taste.
   Wagner's inspiration came first from the folklore of his land, next most importance was Mozart, third Beethoven.

5 comments about Merit - Wagner: Der Ring des Nibelungen / Knappertsbusch.

1. I will be short since enough folks have described this set far more eloquently than I ever could. Of all the complete Ring Cycles I have for some reason this is the one that just does not jell for me. The cast is excellent (Varnay, Browenstjin, Windgassen, Hotter, etc), the acoustics must have been wonderful and the sound is good if somewhat muffled (I think that's my own problem). But...the conducting just doesn't come together for some reason. I have Kna's 51 "Gotterdammerung" and I love that one even at similarly broad tempi, but the cycle for '56 just fails to hold my interest. And of course there are those mistakes that unfortunately get more annoying with repeated listenings (again, my own problem). I have tried to listen to this over and over again, and still my attention wanders, unlike Furtwangler's Rome or Milan.



2. Kna's 1956 Bayreuth edition has always been a constant reference interpretation for serious Wagnerians. The sound is very good indeed, presenting a vivid soundscape of a live performance. Furthermore, the cast leaves very little to wish: Varnay, Greindl, Hotter, Neidlinger, Windgassen, and Brouwenstijn are standouts (this is the unsurpassed dream team).
   
   Kna's conducting is a matter of taste, however. Compared with Furtwängler's electrifying and dark-toned account (EMI, Gebhardt) and Krauss' waltz-like conception (Archipel), we are here in a both shadier and heavier world...
   
   However, there is a horrible production mistake, also evident in Keilberth's 1955 stereo Ring (Testament). Instead of the sound of 18 tuned anvils in the Nibelheim scene of Das Rheingold we hear the sound of Mixtur-Trautonium, some sort of early synthesizer used on Carl Orff's advice, which is supposed to imitate that sound. The result is just terrible. On this recording the device sounds like the beeping of an alarm clock. But one should note that the studio anvil sound in Solti's Ring (Decca) is not convincing either - it sounds too much "edited in".
   
   Despite this criticism, the recording is probably the best mono account we have of a Bayreuth production. Music & Arts' "technical reconstruction" is just superb, signed Maggi Payne.
   
   Strongly recommended.



3. Honestly, for ring fans(not beginners) there are three rings you must have. Krauss 53, Keilberth55(newly released and in stereo sound), and this KNA56. Each one is so different, yet so powerfully conveyed and authoritative that to be without either one you are doing yourself a disservice.
   The Keilberth is very expensive. I do, however, recommend that above any other version because it is the finest overall ring cycle availble, Kind of a mix between the Krauss and KNA but in stereo sound. To put it bluntly--The Keilberth is probably the best, but I enjoy Krauss the most-if that makes any senses. The Krauss can be had for as little as 40 dollars, as can the KNA be had at a reasonable cost.
   Hans Hotter should be judged by this performance(definetly not Soltis), because for me it is his finest Wotan and the finest Wotan on record. His Wanderer is without peer. If the Krauss is the intense one, then this can be considered the meditative ring-though of course that is very broad and does not reflect the entire perforamance(as the wanderer seen alone will attest to. The Keilberth can be considered a mixture of the two, but in stereo sound
   Astrid Varnay, not Nilsson, is the greatest Brunnhilde on record, period. Hers is a complete interpretation, with a voice that can reach both the highest and lowest, both tender and vengeful, moments with a convinction not found anywhere else from anyone(including Nilsson, who despite a tremendous performance seems to always show off the steel in her voice(and yes, she can produce a more beautiful sound that Varnay, but is that really who Brunnhidle is?)
   The other cast is also just as remarkable. Need I even discuss the merits of Griendl, Niedlinger, Suthaus, Browenstejin, and Windgassen. Windgassen is marvelous here, again, his Keilberth performance is his only rival on disc.
   It is funny that is true for most of this. Its only rivals are Krauss and Keilberth-come on guys and gals, the furtwangler isnt that great-despite the VPO Die walkure.
   Despite all the praise, if you are new to Wagner, you may not be ready for historical recordings yet and will probably be overly sensitive to the sound(but you must eventually see past that or you will miss out on the greatest recordings ever, but it understandly takes time). If you are new to this, go for Barenboim. Tomlison is probably the finest Wotan after these three recordings(Hotter is past his prime for Solti). If you are a newbie and you have the cash to spend-go for the Keilberth-it really encompasses all you will ever need with the greatest Brunnhilde performance ever, the second greatest Wotan performance(Hotter to himself here), the greatest Siegfried performance ever(Windgassen) and it is in stereo sound.



4. Si pudiera le daría seis estrellas y no cinco a esta grabación. La grabación recoge la mítica representación del Anillo del Festival de Bayreuth de 1956. En esta interpretación no hay puntos débiles ni en lo musical ni en lo interpretativo. La dirección de Knappertsbusch es abolutamente magistral. Toda la fastuosidad y amplitud cósmica está representada en esta versión de manera magistral. El magnífico preludio del Oro del Rin, el imponente descenso al Nibelheim y el igualmente sobrenatural ascenso. La entrada de los Dioses en el Walhall es imponente y majestuosa. Que decir de la famosa cavalcata, interpretada con tiempos lentos y majestuosos, como no lo se escucha en ninguna otra versión. El preludio del Siegfried, el acompañamiento al llamado de Wotan a Erda en el tercer acto del Siegfried (escúchese el acompañamiento dado al gran Hans Hotter). Que decir de todo el Gotterdammerung. El preludio es grandioso. El funeral de Siegfried es de una amplitud y profundidad que hace temblar el pulso a cualquiera. El holocausto final es de absoluta antología e imponente. Bueno, los momentos mágicos de esta dirección son tantos que se requeriría un amplio espacio para analizarlos todos. Los intérpretes son lo mejor de la Bayreuth de los cincuenta, todos cantantes muy dotados y sobre todo muy profundos y expresivos.
   Astrid Varnay es una Brunhilde perfecta, su maravillosa voz, de poderosos agudos, de timbre oscuro pero que sabía iluminarse en lo alto es de absoluta antología. Escúchese la escena final del Gotterdammerung o el final de La Walkiria; están cantados no sólo con gran técnica y excelente voz, si no con una fuerza y expresividad únicas.
   Esta formidable cantante, fue la favorita de Wieland Wagner, quien a menudo decía que no necesitaba de grandes escenografías en la Bayreuth de los cincuenta, si tenía a disposición a la Varnay.
   El Siegfried de Windgassen es ampliamente conocido, por las fantásticas grabaciones en estudio con Solti y Böhm. Pero en estas grabaciones se encontraba en estado de gracia y su voz tenía una facilidad e imponencia únicas que no se encuentran en grabaciones posteriores. Además de ser un cantante muy expresivo. En esta grabación podemos gustar también de su Siegmund, de gran calidad también. Hans Hotter es el Wotan de referencia y punto. Sobre todo con la dirección de Knappertsbusch, este magnífico intérprete daba los mejor de si. Su Wotan es un verdadero Dios, al que se le ve envejecer a medida que progresa la acción del anillo. La Sieglinde de Gré Brouwesntijn es muy femenina y dulce, con gran expresividad y voz de bello timbre. Esta fue una de las sopranos líricas favoritas de la Bayreuth de los 50, cantando allí los roles de Elsa, Elizabeth, Sieglinde, Eva y Gutrune. Quizás aquí hubiera preferido a la Rysanek o a la Crespin, pero la Brouwesntijn es muy notable también y no decepciona.
   Los otros muchos roles están cantados por intérpretes de referencia. El Alberich de Gustav Neidlinger es la escencia del mal, el Hagen y el Hunding están interpretados por ese gran bajo aleman llamado Josef Greindl de manera imponente, con una técnica y expresividad impresionantes.
   Paul Kuen como Mime, es otra diana de esta grabación, finalmente un artista que canta el rol y lo interpreta. Kuen no convierte a Mime en una caricatura, sino que saca de este personaje todo el provecho que puede sacársele, con musicalidad. El Loge de Ludwig Southaus es un verdadero lujo, la Waltraute de Jean Madeira es quizás la mejor de la discografía. Arnold Van Mill es un ejemplar Fafner y el Gunther de Hermann Uhde es incuestionablemente el mejor de toda la discografía del Anillo. Según muchos críticos musicales, esta es la mas equilibrada de las tres versiones de Knappertasbusch que han llegado hasta nuestros dias, a saber las de Bayreuth 1956, 1957 y 1958.
   En esta grabación, en resumen, se junta una grandiosa dirección musical con intepretaciones practicamente definitivas de cada rol, es por eso que puede considerarse una versión de referencia, junto a las de Furtwängler (1950 y 1953) y a la de Solti.



5. This is a great recording with fabulous singing and conducting of a very different style than you will find on other available recordings. The sound is larger, the sweep more grand the tempi at times very slow and deliberate although not always so (I am mystified by the reviewer from England complaining about Knappertsbusch at the end of Act 1 Die Walkure: Windgassen very clearly misses his entry TWICE and as a result of this is completely out of time for most of the sequence I dont think this is the conductors fault as the other singers, notably hoter and varnay in the beginning of the next act where there are also some fiarly deliberate tempi). I prefer the Krauss 53 as it is more fluid and less momentous and I prefer the furtwangler because the condutcor was unique but this is a terrific purchase as well and stands out from many other recordings in its approach. The new ORfeo release has very good remastered sound.

1 comments about Berg - Lulu / Migenes · Fassbaender · Adam · Hotter · Maazel.

1. A Lulu to leave you cold: Maazel's conducting is far from the electrifying, and cossets the music far too much. The good cast is not put to use as it should be.