No comments about Wagner: Tannehäuser - Bayreuth Festival 1930 (2 CD Box) (Pearl).

5 comments about Wagner: Der Ring Des Nibelungen (Milan 1950).

1. I have no problems with the sound at all on considering that it is a live performance and there will always be extraneous noise during a live recording. I understand that the sound is very inconsistent at times, but I don't mind and I will tell you why. This is a very important document in the history of Wagnerian singing. I laugh at reviews that speak of the terrible audience that is recorded speaking throughout the recording--a knowledgeable listener will understand that this is the prompter, not the audience, being picked up by the microphone. This is another inevitable feature of recording a live performance.
   
   I am a beginning Wagnerian singer myself, and these are only my opinions. All of the singers certainly seem to open up their souls in their roles in this set and I don't find that there is a lack of drama and passion, despite different levels of vocal quality. I am not hear to bad-mouth anyone, so I will dwell on the positive. FRANTZ is a god among Wagnerian Heldenbaritons--he possesses a god-like, deep, dark, and rick voice that makes me wish I could have been there to witness his portrayal. It is not hard to understand why he was Furtwangler's favorite Wotan. I agree with one reviewer that he may be the best recorded Wotan ever. In my opinion, he is worth the value of this set, along with the next singer. FLAGSTAD is instantly recognizable to any lover of the Ring cycle. Many tout her as the greatest Wagnerian Hochdramatische soprano ever and the greatest Brunnhilde. Only Helen Traubel, in my opinion, surpasses her in sonic quality and became the Met's reigning Wagnerian diva after Flagstad retreated to her home country to be with her family during the war. This is the only complete Wagner cycle of Flagstad extant I believe. I also bought this set for FURTWANGLER, a legendary conductor of Wagner. Many singers agree that he is one of few who really capture all of the requisite beauty as well as drama in Wagner. Varnay has stated in her biography that Furtwangler was the conductor that taught her the meaning a long-breathed phrase. It seemed that just when she thought that the phrase ended, Furtwangler commanded even more and it seemed his arms encompassed the orchestra in span. The conducting of this cycle is monumental. A good example of what Wagnerian drama can be is found during the last part of Die Walkure in the confrontation between Flagstad, Frantz and Furtwangler. I am certainly glad I encountered this set and it will be one of my prized Wagnerian recordings, others being a live Parsifal with London/Modl/Windgassen and Knappertsbusch conducting; another live Ring cycle with Varnay/Hotter and Krauss conducting; a live Der fliegende Hollander with London/Varnay conducted by Keilberth; a Tristan und Isolde with Modl/Vinay and the great Karajan conducting; and my most prized recording of Die Walkure with Traubel/Melchior, the unsurpassed Kipnis as Hunding, and the incredible Met debut of Varnay at 23(!) as Sieglinde, and conducted by Leinsdorf.



2. Despite the imperfect sound, this Ring is the most satisfying of all. It features the best Siegmund ever -- Gunther Treptow -- (listen also to his Tristan) and, of course, a superb conductor. As no Ring is perfect throughout, it is good to have at least one other to compare. I prefer Clemens Krauss' "Siegfried" to Furtwangler's, for example. Krauss Ring is another great choice. It is in better sound than Furtwangler and enjoyable throughout (if you care for Astrid Varnay). But it is Furtwangler that I can listen to over and over again. The "benchmark" Solti and Karajan sets just do not transport me, perfect though they may be. In fact, I never understand why people recommend Solti's Ring for "beginners" or, as they say: "if you have only one Ring, this is the one to have." In my opinion, Solti can put beginners off Wagner. It's just too remote and lofty and it seems to drag on forever. Karajan is too precious.



3. No doubt this has a stellar cast and conductor, but I have a hard time getting beyond the "crude recorded sound" as mentioned in the editorial review. One has to imagine how good the singers sounded since their voices are not well produced on a modern stereo. The orchestra sounds distant and truncated. At times it painful to listen to because one realizes how much of the good performance has been lost through bad recording. This set is of historical interest but not one that one can really enjoy. You have to be into "historical" recordings to enjoy this one. Of all the editions of Furtwangler's 1950 performance, this Music & Arts transfer is far superior to any of its competitors, and any serious Wagnerite will want to have Flagstad singing Brunhilde and Ferdinand Frantz doing Wotan (probably the best Wotan ever recorded). A good alternative to this recording is the inexpensive but excellent live recording (DDD sound) by Neuhold (ASIN: B00005YCS5) put out by Brilliant Classics and available on amazon.com.



4. This is a remarkable historical document, catching several of the greatest Wagnerian singers from the 30's and 40's at the twilight of their careers. Treptow and Konetzni shine in the roles of Siegmund and Sieglinde of Die Walkure. (An earlier version of this great opera can be found with the same two singers from Vienna (1949) in a Myto release conducted by Rudolf Moralt.) Siegfried unveils Set Svanholm in the title role: he is in fine voice. Gotterdammerung is stunning, if only for the wonderful voice of Max Lorenz.

   Furtwangler's conducting is central to the set. The string portemento demanded by Furtwangler provides a fluidity to the unfolding of the dramatic events. Brass and horns a weak point: it is hard to pinpoint the problem -recording, orchestra, or conductor? I would guess the first.

   Flagstad (Brunnhilde) is wonderful throughout. Ferdinard Frantz creates a dark and brooding Wotan.

   All considered, a great achievement. If you like this set, be sure to check out Moralt's Ring on Myto. Moralt performed his Ring in the Theater an der Wien amongst the rubble of bombed Vienna (1948-50)and managed to assemble a fine cast of the best Viennese Wagnerians of the day. You will hear a style of singing that is no longer heard today, rich vibrato mixed with strict declamation.




5. URGENT MESSAGE FOR PROSPECTIVE RING-BUYERS!

   As far as I'm concerned there ARE only four great rings - and all are live.

   1. This one (also available for much cheaper on Opera d'Oro and virtually identical excepting packaging).

   2. Boehm's excilerating reading for Philips, counting among its many assets the justly famous Bruennhilde of Nilsson.

   3. Knappertbutsch (is that right?) on Melodram or Merit.

   4. Krauss - the most consistent cast of all recordings thus far.

   All of these recordings have one thing in common - their conductor's all have a broad and fulfilling view of the work.

   Among more modern recordings, also good are Boulez (at mid-price, and in many ways similar to Boehm apart from a generally weaker cast in the main roles) and Barenboim's digital recording.

1 comments about Handel - Riccardo Primo / Mingardo, Piau, Lallouette, Scaltriti, Brua, Bertin, Les talens lyriques, Rousset.

1. After hearing and studying this opera, I am at a loss of words. The fact that this opera, and particularly this recording, has been out of print for so long is a crime against the humanities. This is a first rate Handel opera. Every note is a masterpiece.
   
   The performance under Christophe Rousset is brilliant. Recording quality is excellent. The soloists are an all star cast that live up to their reputations.
   
   Just listen to the duet "T'amo, Si!" with Sara Mingardo and Sandrine Piau ending act 2. This music is superhuman in beauty and the singing is unreal.
   
   A new recording of Riccardo Primo is scheduled for release soon with Paul Goodwin. The Rousset version will be difficult to top.

No comments about Bellini La Straniera Live Carnegie Hall 1969 Caballe Zambon Sardinero.

No comments about Tito Schipa Vol. 3 Donizetti: Don Pasquale.

No comments about Die Walküre.

4 comments about Beethoven.

1. Fans of box sets will certainly treasure this splendid collection, which unites all of Nikolaus Harnoncourt's Beethoven recordings with the Chamber Orchestra of Europe. It is absolutely stunning, not only with regards to sound, but also with the exceptional performances given by the orchestra, vocal soloists in the "Missa Solemnis" and violinist Gidon Kremer in the violin concerto. The "Creatures of Promethus" performance is the best I have heard. As for the entire symphony cycle, this is the Beethoven to acquire if you're looking for one set. Harnoncourt leads the COE in brisk, exciting interpretations of the symphonies that combine the best of period instrument practice and contemporary performance. Other acclaimed cycles, most notably those from Abbado, Barenboim, Gardiner and Zinman, have been issued since Harnoncourt's was released, yet his remains first choice.



2. Although it runs $100 for 10 CDs, this set qualifies as a bargain. Harnoncourt presents an impressive rethink of Beethoven's symphonies, as well as sterling versions of the violin concerto, various ovetures, the Missa Solemnis and Creatures of Prometheus. All of this is handsomely packaged as a box set, complete with a long and detailed booklet explaining Harnoncourt's approach. Perhaps the most unusual feature of the set it that is contains a picture of Harnoncourt smiling! Prior to purchasing this set, in every picture I had ever seen of the man he was wearing a VSS (Very Serious Scowl) that seemed both pretentious and off-putting.

   Anyway, the music...I have reviewed the 9th symphony seperately and for me it represents the highlight of both the symphonic cycle as well as the set...just a flat-out great performance. Other standouts in the symphonies are the 8th (best version I have heard), 4th, 6th and 1st. The 6th is controversially slow, although the slower this symphony is the better I like it, and therefore it works for me. The 5th will not make you forget Kleiber (what would?), but it is strong version nonetheless. 3 and 7 will probably divide listeners...the heroic element is 3 is downplayed and the dance element in 7 is trimmed by lessening the rythmic drive...neither would be a first choice, but both are interesting alternative versions. Perhaps the greatest virtue of the set is the consistency of the interpretation and execution. There is no weak link here...no one or two symphonies that are obviously below par.

   As to the rest of the set, well, things just get better. The violin concerto (with Gidon Kremer) is absolutely outstanding...it may be the best version in recent memory. Both Kremer and Harnoncourt catch fire early and sustain an almost wild abandon throughout. As for the Missa Solemnis and Creatures of Prometheus, both are excellent versions that can stand with any. To top everything off, all the major overtures and romances are represented with very nice performances.

   For me, this set represents as good an integral set of Beethoven's symphonic output as one is likely to find. Harnoncourt is interesting, the Chamber Orchestra of Europe is outstanding, as are Kremer, the Chorus and the various vocalists. Teldec's recording is absolutely first rate. I still pull out the Kleiber, Klemperer and Furtwangler, but more and more I find myself reaching for the Harnoncourt above all others. And, the guy has a great smile!




3. These performances of the Symphonies of Beethoven, the Vioin Concerto, Overtures, The Creatures of Prometheus and the Missa Solemnis should be on the shelf of every serious music lover. Harnoncourt's radically different approach to these familiar works of Beethoven will cause some to cringe and cause others to leap from their seats in absolute joy. Harnoncourt and the COE have thrown all long held performance traditions out of the window and the result is refreshing and, at times, downright alarming. The textures are lean, crisp and biting. The tempos almost never drag, the listener is constantly propelled forward by these unique and absolutely spell-binding performances. And Teldec has captured them in magnificent digital sound.

   After listening to these performances, one can understand why Beethoven was considered such a revolutionary. Go ahead and purchase these recordings. You will never hear a more gripping account of these works anywhere else. Bravo Harnoncourt! Bravo Chamber Orchestra of Europe! Bravo Beethoven!




4. This was a fair cd. It was not one of Beethoven's best, however it is not bad at all. It is definitely worth a try.

1 comments about Wagner: Meistersinger von Nürnberg, The 1952 Bayreuth Festival Performance.

1. SOURCE: Live recording of the July 30, 1952 performance at the Bayreuth Festival.
   
   SOUND: Good 1950s mono that catches the voices very well and the orchestra somewhat less so, but still acceptably for anyone but an audio purist. In a historic document such as this one, the quality of performance is always more to be considered than the mere mechanical reproduction of sound.
   
   CAST: Hans Sachs*,cobbler - Otto Edelmann; Walther von Stolzing, knight - Hans Hopf; Eva Pogner - Lisa della Casa; Sixtus Beckmesser*, town clerk - Heinrich Pflanzl; Veit Pogner*, goldsmith - Kurt Boehme; David, apprentice cobbler - Gerhard Unger; Magdalena, Eva's nurse - Ira Malaniuk; Fritz Kothner*, baker - Werner Faulhaber; Kunz Vogelgesang*, furrier - Karl Terkal; Konrad Nachtigall*, tinsmith - Walter Stoll; Balthasar Zorn*, pewterer - Josef Janko; Ulrich Eisslinger*, grocer - Karl Mikorey; Augustin Moser*, tailor - Gerhard Stolze; Herrmann Ortel*, soap maker - Theo Adam; Hans Schwarz, stocking weaver - Heinz Borst; Hans Foltz*, coppersmith - Max Kohl; Nightwatchman - Gustav Neidlinger. (* Member of the Guild of Master Singers) CONDUCTOR: Hans Knappertsbusch with the Bayreuth Festival Orchestra and Chorus.
   
   FORMAT: Disk 1 - "Der Meistersinger" Prelude: track 1; Act I, tracks 2-6;73:12. Disk 2 - Act I, Scene 3 (continued), track 1; Act II, tracks 2-14; 79:02. Disk 3 - Act III, tracks 1-10; 72:33. Act III, Scene 4 (continued), tracks 1-9; 50:19. "Siegfried Idyll," track 10; 20:10.
   
   DOCUMENTATION: No libretto. Reprinted slightly fatuous article from the October 1952 issue of Opera (U.K.) by Harold Rosenthal on this performance. Track list with timings. Four photographs, one for each of the sets used in the production.
   
   COMMENTARY: In 1952, the Bayreuth Festival was at the beginning of its rebirth after the--ahem--recent unpleasantness. Winifred Wagner, Richard Wagner's English-born daughter-in-law was still very much alive but firmly removed from authority at the Festival because of her loudly proclaimed political affiliations. Her sons Wieland and Wolfgang were in charge of the de-Nazified Festival and its nearly empty treasury. It is a famous part of opera lore that the bothers coped with both problems by presenting semi-abstract productions with next-to-bare stages, few props, simple (not to mention cheap) costumes and elaborate lighting. All that was certainly true of that year's "Tristan und Isolde," produced by Wieland Wagner.
   
   But if Wolfgang's 1951 "Meistersinger" was still a newish production in this its second year, it was certainly a traditional one. Production photos show St. Katherine's Church in the first act to have been massive and almost oppressively heavy. Hans Sach's shop in the second act was on one side of a grimly authentic-looking Sixteenth Century cityscape. The interior of his house in the first part of act three was dimly-lit and gloomily realistic. Only the final set gave a hint of things to come, for Nuremberg was reduced to a bare stage with risers on each side and what appear to be cut-outs of the skyline placed flat against a sky scrim. Costumes and props were resolutely realistic and clunky throughout. All that would change in the next "Meistersinger" production when Wieland got his hands on it ... but not yet.
   
   Less articulated in opera lore is the fact that the new production style was not terribly signifcant then and much less so now. What was important was that the post-war period was a time of immensely skilled older conductors (along with that young whippersnapper Karajan) and brilliantly talented singers. Just look at the cast list above: Edelmann, della Casa, Boehme, Unger, Malaniuk, Stolze, and yes, even Hopf are names to conjure with. And way down at the bottom of the cast list, two brilliant newcomers Theo Adam and Gustav Neidlinger.
   
   In the following year, Hans Knapperstbusch would famously demand that the Wagner brothers restore what their grandfather had put into his operas. They would not or could not, so the great old traditionalist departed Bayreuth. That crisis was yet to come. In 1952 Knappertsbusch must have been happy with a realistic production and a cast that was literally of festival quality.
   
   This is a famous performance from a famous production. It is a record of a specific night. There are occasional rough spots, as is to be expected in a live performance. The overall performance is excellent, even Hopf is bearable. (He had the voice and the strength to be great but not, apparently, the understanding or the will--a great pity.)
   
   Good performance, great conductor, stellar cast, it's not perfect, for no "Meistersinger" recording is, but it is certainly worth five stars.

No comments about R. Strauss: Der Rosenkavalier.

No comments about Cavalli: Ercole Amante.