Wagner: Der Ring Des Nibelungen [Box set]

Editorial Reviews
Amazon.com
This 1952 live-from-Bayreuth Ring led by Joseph Keilberth is one of the tightest, tautest, most energized Rings available; only Böhm is faster (and not always--the Siegfrieds are the same length) and more intense in general, with Boulez fast but without the same passion. (Keilberth's Götterdämmerung is 28 minutes faster than that of Knappertsbusch!)The sound is as good as that from any studio recording from the period, and the voice-orchestra balance is just right (the occasional too-far-back-on-the-stage phrase notwithstanding). It is a Ring of big contrasts: Siegfried's Rhine Journey has never sounded so joyous (a few flubs in the brass just prove that the orchestra is made up of humans), his Funeral Music is as heavy as lead; the "Announcement of Death" in Walküre is intimate and still, the Valkyrie's Ride almost insanely wild (with intermittent patches of bizarre singing from the sisters). The individual performances are more flavorful and "individualized" than on almost any other recording: Max Lorenz's grown-up Siegfried is all mood swings and swagger (and a bit wayward, vocally), Bernd Aldenhoff's young Siegfried is inexhaustible, Paul Kuen's Mime simply the most multifaceted and best sung on disc, ditto the Alberich of Gustav Neidlinger (the picture of viciousness); Astrid Varnay catches every moment of Brünnhilde's change from impetuous young warrior maiden to loving daughter to disobedient child to woman, and she's in blazing, brilliant voice; Günther Treptow and Inge Borkh are a passionate, highly dramatic and extroverted Wälsung pair and Joseph Greindl's Hagen is monstrously nasty. The late Hans Hotter towers over it all as Wotan in the wisest and freshest of his many performances caught on record. The rest of the cast is always involved and involving. This is a fabulous Ring. --Robert Levine

Wagner: Der Ring Des Nibelungen, Music, Richard Wagner, Joseph Keilberth, Bayreuther Festspiele Orchester, Astrid Varnay, Bernd Aldenhoff, Erich Witte, Erika Zimmermann, Gunther Treptow, Gustav Neidlinger, Hanna Ludwig, Hans Hotter, Inge Borkh, Ira Malaniuk, Josef Greindl, Kurt Böhme, Lieselotte Thomamuller, Ludwig Weber, Martha Mödl, Melanie Bugarinovic, Paul Kuen, Paula Brivkalne, Rita Streich, Ruth Siewert, Trude Roesler, Werner Faulhaber, Wolfgang Windgassen, Box Sets (Audio Only), Classical, Classical Composers, Classical Music, German/Austrian Romantic Opera, Opera, Opera / Operetta / Oratorio
An Introduction to Der Ring des Nibelungen
Average customer rating: 4.5 out of 5 stars
  • Ring introduction critique
  • FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE
  • Welcome back to a classic analysis
  • Essential for Understanding Wagner's Ring Cycle
  • Very Functional
 An Introduction to Der Ring des Nibelungen
Deryck Cooke , Georg Solti , Wiener Philharmoniker , Anita Valkki , Berit Lindholm , Birgit Nilsson , Brigitte Fassbaender , Christa Ludwig , Claire Watson , Claudia Hellmann , Dame Gwyneth Jones , Dietrich Fischer-Dieskau , Eberhard Wächter , George London , Gerhard Stolze , Gottlob Frick , Grace Hoffmann , Gustav Neidlinger , Hans Hotter , Helen Watts , Helga Dernesch , Hetty Plumacher , Ira Malaniuk , James King , Jean Madeira , Joan Sutherland , Kirsten Flagstad , Kurt Böhme , Lucia Popp , Marga Höffgen , Marilyn Tyler , Maureen Guy , Oda Balsborg , Paul Kuen , Régine Crespin , Set Svanholm , Vera Little , Vera Schlosser , Waldemar Kmentt , Walter Kreppel , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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  1. Wagner's Ring: Turning the Sky Round
  2. Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti
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  5. Ring of the Nibelung

ASIN: B00000424H
Release Date: 2005-09-13

Tracks:

  1. Of All Great Musical Compositions... (Examples 1-4)
  2. The Fundamental Symbol... (Examples 5-11)
  3. Returning Now To The Nature Motive... (Examples 6, 12-16)
  4. A Number Of Further Motives... (Examples 5, 17-21)
  5. A Second, Much Smaller Family... (Examples 22-25)
  6. So Much For Nature. (Examples 26-38)
  7. The Cause Of The Deterioration... (Examples 39-44)
  8. The Other Transformation... (Examples 45-48)
  9. Several Other Motives... (Examples 49-52)
  10. Two Further Motives... (Examples 41, 53-61)
  11. The Basic Motive Associated With The Spear... (Examples 62-68)
  12. Along Another, More Complex Line... (Examples 69-72)
  13. In Act Two Of Walkure... (Examples 69, 73-75)
  14. Returning Now To Act Two Of Walkure... (Examples 76-79)
  15. Love Is Another Of The Central Symbols... (Examples 80-83)
  16. Later In The Same Scene... (Examples 84-87)
  17. Freia's Motive Has Two Independent Segments... (Examples 88-91)
  18. The Label 'Flight'... (Example 92)
  19. When Fasolt, In Scene Two Of Rhinegold... (Examples 93-98)
  20. A Little Later In The Interlude... (Examples 99-103)

Tracks:

  1. The Other New Motive... (Examples 104-109)
  2. There Are Several Independent Love-Motives... (Examples 110-114)
  3. The Characters In Whose Lives... (Examples 115-120)
  4. One Further Motive Belongs... (Example 121)
  5. The Sword Motive Recurs... (Examples 122-130)
  6. Ironically, This Phrase... (Examples 131-135)
  7. Closely Associated With Gutrune's Motive... (Examples 136-140)
  8. Here We Come To The End... (Examples 141-146)
  9. Complemtary To This Symbol... (Examples 147-149)
  10. One Last Central Symbol... (Examples 150-157)
  11. One Further Motive Connected... (Examples 158-161)
  12. There Are One Or Two Motives... (Examples 162-168)
  13. These Motives Of Alberich And Mime... (Examples 169-171)
  14. Quite A Number Of The Subsidiary Motives... (Examples 172-176)
  15. Besides This Family Of Motives... (Examples 177-180)
  16. Our Final Example... (Examples 10, 181, 182)
  17. In The Final Scene Of Gotterdammerung... (Examples 181-183)
  18. Even More Masterly... (Examples 184-188)
  19. Now If We Return... (Examples 189-191)
  20. This Masterly Way... (Examples 192, 193)

Amazon.com

When Wagner set the Ring to music, he intended the orchestra to act in the fashion of a chorus from a classic Greek tragedy--setting the mood and commenting on the action. In order to allow a nonverbal musical line to reflect on the plot, Wagner developed a psychologically and musically complex symbology to communicate his thoughts to the listener. From the beginning the Ring has spawned numerous written commentaries on the relationships of the motif structure, but by using examples from the Decca Ring recording, Deryck Cooke's thoughtful spoken commentary is by far the most accessible guide for either the fledgling Ring enthusiast or the seasoned veteran. --Christian C. Rix

Customer Reviews:

4 out of 5 stars Ring introduction critique.......2006-11-04

This is very worthwhile, at the same time it requires time, patience and attention, but it does provide some keys to better enjoyment of a sensational piece of music.

5 out of 5 stars FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE.......2006-08-16

This may look an intimidating, daunting and dull prospect - a 2+ hour lecture on the motifs in the Ring. Don't be put off. Whether you're a relative novice to the Ring and want to find out what it's all about, more experienced with a desire to understand the composer's methods better or an afficionado who thinks he knows it all inside out, there is great pleasure as well as elucidation to be had from this set. Originally made to accompany the Decca Solti Ring, it contains a multitude of musical illustrations taken from those recordings as well as some specially recorded by Solti just for this Introduction.

It wasn't the first time this has been tried. The famous HMV sets from the late 20's also included recorded examples of over 100 motifs. (These, by the way, are available as part of the Pearl reissue of those wonderful HMV recordings). What that set lacked was the wonderful insights as well as the approachability of the talk by Deryck Cooke. Cooke was a great and much missed musicologist - a Mahler expert responsible for the performing edition of the Tenth Symphony still most played today, a fascinating explorer into the nature of music's basic building-blocks in his excellent book, The Language of Music, and an inspiring and elucidating critic of Wagner's work as shown by the fascinating book he left unfinished at his death, I Saw the World End.

On these CDs he does much more than list the leitmotifs and identify them as calling-cards. He shows the amazingly integrated and organic growth of the musical material that Wagner uses throughout his vast work. He demonstrates how motifs can change their sense and meaning as they evolve through the drama. And he shows how the complex combinations of motifs can radically advance both the musical and the dramatic narrative of the piece. There are even places where he corrects the misinterpretation of some of the motifs that had become ingrained from early commentators' false labels.

This set should engage and enlighten anyone with an interest in Wagner's huge and inexhaustible tetralogy. Do give it a try - no matter how far down the road to Wagnerianism you are.

4 out of 5 stars Welcome back to a classic analysis.......2006-05-28

Deryck Cooke's lecture series upon THE RING is almost as much a classic by now as the Solti RING cycle, with which it was originally issued on LP, and from which it derives its musical examples. The difference is that whereas the Solti RING has been continuously in print ever since it was completed, and was among the first opera sets to benefit from the CD revolution, the Cooke analysis was for long almost totally unobtainable. Now we have it back. It should be welcomed: it is a classic. Cooke's mellow, deep voice with the hint of a Celtic burr - which made him ideal on BBC radio - patiently explains Wagner's melodic, rhythmic, and harmonic metamorphoses to such good effect that if you own this recording, you really require no other RING analysis. (A pity about the abrupt beginnings and endings of too many vocal and orchestral illustrations, though.) Musicology lost a fine, sensitive thinker with Cooke's premature death in 1976.

If all you want is dilettantish baby food, there are plenty of dumbed-down Wagner commentaries on the market, stretching from Anna Russell's famous monologue (which doesn't pretend to be anything other than a parody aimed at morons) to the latest standard-issue "Wagner-was-a-Nazi-boo-hiss" feuilleton (which, unfortunately, does). Without reasonable score-reading skill you will find Cooke useless, however diligently you have ploughed through Marx, Jung, Freud, or other gurus purportedly relevant to THE RING. Cooke expects you to use your brains and your musical sense. Quelle horreur. At today's BBC his "elitism" would render him unemployable.

5 out of 5 stars Essential for Understanding Wagner's Ring Cycle.......2006-05-15

I originally bought this set on vinyl in the early 70s when I discovered the Ring in college. I studied the records and booklet assiduously, and after about three run-throughs I finally started getting it. Wow! Thirty-five years later, I still remember Mr. Cooke's analyses of various motive families, and I don't know how I could have mastered and loved the Ring without him. I now own this set on CD and listen again on the rare occasion of attending a Ring performance. My wife calls me a "Ring nut," but of course I'm nuts about many other things as well.

Bottom line, buy this set and study it if the Ring has captivated you as it has countless others. The presentation is dry, but sticking with it brings measureless and longlasting rewards.

4 out of 5 stars Very Functional.......2006-03-19

This CD set is excellent for what it sets out to do: present the leitmotives of the Ring according to their relationship to one another and their role in developing both characters and plotlines. Deryck Cooke's lectures on each motive are very insightful, very helpful at cueing the listener into the semantic aspect of Wagner's orchestral writing. The one drawback is that the musical examples are a bit jarring. Without fade-ins or -outs, the engineering is quite barbaric. And though the orchestra was, I believe, conducted by Solti, and is beautifully done, the vocal performances can be quite unpleasant. Point being: this is not background music, but in accomplishing what it sets out to do, it is very successful, and I don't know of anything else like it.
Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti
Average customer rating: 4.5 out of 5 stars
  • "Leb wohl, Siegmund, seligster Held!"
  • Easily the best investment I've ever made!!!
  • Possibly the greatest recording of the century
  • Wonderful recording - GLARING TECHNICAL ISSUE
  • LORD OF THE RINGS
 Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti
Sir Georg Solti , Wiener Philharmoniker , Vienna State Opera Choir , Kirsten Flagstad , Paul Kuen , George London , Jean Madeira , Ira Malaniuk , Gustav Neidlinger , and Hetty Plumacher
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000042H4
Release Date: 1997-10-14

Tracks:

  1. Das Rheingold: Erste Szene: Vorspiel - Prelude
  2. Das Rheingold: Erste Szene: Weila! Waga! Woge, du Welle!
  3. Das Rheingold: Erste Szene: Garstig glatter glitschriger Glimmer!
  4. Das Rheingold: Erste Szene: Wallala! Lalaleia!
  5. Das Rheingold: Erste Szene: Lugt, Schwestern!
  6. Das Rheingold: Erste Szene: Der Welt Erbe gewann' ich zu eigen durch dich?
  7. Das Rheingold: Zweite Szene: Wotan! Gernahl! Erwache!
  8. Das Rheingold: Zweite Szene: Sanft schloss Schlaf dein Aug'
  9. Das Rheingold: Zweite Szene: Zu mir, Freia! Meide sie, Frecher!
  10. Das Rheingold: Zweite Szene: Endlich Loge!
  11. Das Rheingold: Zweite Szene: Immer ist Undank Loges Lohn!
  12. Das Rheingold: Zweite Szene: Ein Runenzauber zwingt das Gold zum Reif
  13. Das Rheingold: Zweite Szene: Hor', Wotan, der Harrenden Wort!
  14. Das Rheingold: Zweite Szene: Was sinnt nun Wotan so wild?
  15. Das Rheingold: Zweite Szene: Auf, Loge, hinab mit mir! - Dritte Szene: Hehe! hehe! hieher!

Tracks:

  1. Die Walkure: Dritte Szene: Schau, du Schelm!
  2. Die Walkure: Dritte Szene: Nibelheim hier: durch bleiche Nebel was blitzen dort
  3. Die Walkure: Dritte Szene: Nehmt euch in acht! Alberich naht - Sein harren wir hier
  4. Die Walkure: Dritte Szene: Vergeh, frevelnder Gauch! - Was sagt der? - Sei doch bei Sinnen!
  5. Die Walkure: Dritte Szene: Ohe! Hahaha! Ohe! Hahaha! Schreckliche Schlange
  6. Die Walkure: Vierte Szene: Da, Vetter, sitze du fest!
  7. Die Walkure: Vierte Szene: Gezahlt hab' ich, nun lasst mich zieh'n!
  8. Die Walkure: Vierte Szene: Bin ich nun frei? Wirklich frei?
  9. Die Walkure: Vierte Szene: Fasolt und Fafner nahen von fern
  10. Die Walkure: Vierte Szene: Gepflanzt sind die Pfahle
  11. Die Walkure: Vierte Szene: Weiche, Wotan, weiche!
  12. Die Walkure: Vierte Szene: Hort, ihr Riesen! Zuruck, und harret!...Halt, du Gieriger!
  13. Die Walkure: Vierte Szene: Schwules Gedunst...Zur Burg fuhrt die Brucke
  14. Die Walkure: Vierte Szene: Abendlich strahlt der Sonne Auge
  15. Die Walkure: Vierte Szene: Rheingold! Rheingold! Reines Gold! Wie lauter und hell

Tracks:

  1. Die Walkure: Erster Aufzug: Prelude
  2. Die Walkure: Erster Aufzug, Erste Szene: Wes Herd dies auch sei
  3. Die Walkure: Erster Aufzug, Erste Szene: Kuhlende Labung gab mir der Queil!
  4. Die Walkure: Erster Aufzug, Zweite Szene: Mud am Herd fand ich den Mann
  5. Die Walkure: Erster Aufzug, Zweite Szene: Friedmund darf ich nicht heissen
  6. Die Walkure: Erster Aufzug, Zweite Szene: Aus dem Wald trieb es mich fort
  7. Die Walkure: Erster Aufzug, Zweite Szene: Ich weiss ein wildes Geschlecht
  8. Die Walkure: Erster Aufzug, Dritte Szene: Ein Schwert verhiess mir der Vater
  9. Die Walkure: Erster Aufzug, Dritte Szene: Schlafst du, Gast?
  10. Die Walkure: Erster Aufzug, Dritte Szene: Wintersturme wichen dem Wonnemond
  11. Die Walkure: Erster Aufzug, Dritte Szene: Du bist der Lenz, nach dem ich verlangte
  12. Die Walkure: Erster Aufzug, Dritte Szene: Wehwalt heisst du furwahr? - Siegmund heiss ich

Tracks:

  1. Die Walkure: Zweiter Aufzug: Prelude
  2. Die Walkure: Zweiter Aufzug, Erste Szene: Nun zaume dein Ross, reisige Maid
  3. Die Walkure: Zweiter Aufzug, Erste Szene: Der alte Sturm, die alte Muh'!
  4. Die Walkure: Zweiter Aufzug, Erste Szene: So ist es denn aus mit den ewigen Gottern
  5. Die Walkure: Zweiter Aufzug, Erste Szene: Nichts lerntest du
  6. Die Walkure: Zweiter Aufzug, Erste Szene: Was verlangst du?
  7. Die Walkure: Zweiter Aufzug, Zweite Szene: Schlimm, fucht ich, schloss der Streit
  8. Die Walkure: Zweiter Aufzug, Zweite Szene: Was keinem in Worten ich kunde
  9. Die Walkure: Zweiter Aufzug, Zweite Szene: Ein andres ist's: achte es wohl
  10. Die Walkure: Zweiter Aufzug, Zweite Szene: O sag, kunde, was soll nun dein Kind?
  11. Die Walkure: Zweiter Aufzug, Dritte Szene: Raste nun hier, gonne dir Ruh!
  12. Die Walkure: Zweiter Aufzug, Dritte Szene: Hinweg! Hinweg! Flieh die Entweihte!

Tracks:

  1. Die Walkure: Zweiter Aufzug, Vierte Szene: Siegmund! Sieh auf mich!
  2. Die Walkure: Zweiter Aufzug, Vierte Szene: Hehr bist du, und heilig
  3. Die Walkure: Zweiter Aufzug, Vierte Szene: So wenig achtest du ewige Wonne?
  4. Die Walkure: Zweiter Aufzug, Funfte Szene: Zauberfest bezahmt ein Schlaf der Holden Schmerz und Harm
  5. Die Walkure: Zweiter Aufzug, Funfte Szene: Kehrte der Vater nur heim!

Tracks:

  1. Die Walkure: Dritter Aufzug, Erste Szene: Vorspiel - Hojotoho! Hojotoho! Heiaha! Heiaha!
  2. Die Walkure: Dritter Aufzug, Erste Szene: Schutzt mich und helft in hochster Not!
  3. Die Walkure: Dritter Aufzug, Erste Szene: Nicht sehre dich Sorge um mich
  4. Die Walkure: Dritter Aufzug, Erste Szene: Steh, Brunnhild'!
  5. Die Walkure: Dritter Aufzug, Zweite Szene: Wo ist Brunnhild', wo die Verbrecherin?
  6. Die Walkure: Dritter Aufzug, Zweite Szene: Hier bin ich Vater: gebiete die Strafe!
  7. Die Walkure: Dritter Aufzug, Zweite Szene: Wehe! Weh! Schwester, ach Schwester!
  8. Die Walkure: Dritter Aufzug, Dritte Szene: War es so schmahlich, was ich verbrach
  9. Die Walkure: Dritter Aufzug, Dritte Szene: Nicht weise bin ich, doch wusst' ich das eine
  10. Die Walkure: Dritter Aufzug, Dritte Szene: So tatest du, was so gern zu tun ich begehrt
  11. Die Walkure: Dritter Aufzug, Dritte Szene: Du zeugtest ein edles Geschlecht
  12. Die Walkure: Dritter Aufzug, Dritte Szene: Leb wohl, du kuhnes, herrliches Kind!
  13. Die Walkure: Dritter Aufzug, Dritte Szene: Denn einer nur freie die Braut
  14. Die Walkure: Dritter Aufzug, Dritte Szene: Loge, hor! Lausche hierher!

Tracks:

  1. Siegfried: Erster Aufzug: Vorspiel
  2. Siegfried: Erster Aufzug, Erste Szene: Zwangvolle Plage! Mueh ohne Zweck!
  3. Siegfried: Erster Aufzug, Erste Szene: Hoiho! Hoiho! Hau ein! Hau ein!
  4. Siegfried: Erster Aufzug, Erste Szene: Da hast du die Stucken, schandlicher Stumper
  5. Siegfried: Erster Aufzug, Erste Szene: Ais zullendes Kind zog ich dich auf
  6. Siegfried: Erster Aufzug, Erste Szene: Vieles lehrtest du, Mime
  7. Siegfried: Erster Aufzug, Erste Szene: Einst lag wimmernd ein Weib
  8. Siegfried: Erster Aufzug, Erste Szene: Und diese Stucken sollst du mir schmieden
  9. Siegfried: Erster Aufzug, Erste Szene: Da sturmt er hin!
  10. Siegfried: Erster Aufzug, Zweite Szene: Heil dir, weiser Schmied!
  11. Siegfried: Erster Aufzug, Zweite Szene: Hier sitz' ich am Herd und setze mein Haupt
  12. Siegfried: Erster Aufzug, Zweite Szene: Was zu wissen dir frommt, solltest du fragen
  13. Siegfried: Erster Aufzug, Zweite Szene: Die Stucken! Das Schwert! O weh! Mir schwindelt!
  14. Siegfried: Erster Aufzug, Dritte Szene: Verfluchtes Licht!
  15. Siegfried: Erster Aufzug, Dritte Szene: Heda! Du Fauler!

Tracks:

  1. Siegfried: Erster Aufzug, Dritte Szene: Bist du es, Kind?
  2. Siegfried: Erster Aufzug, Dritte Szene: Fuhltest du nie im finstren Wald
  3. Siegfried: Erster Aufzug, Dritte Szene: Her mit den Stucken, fort mit dem Stumper!
  4. Siegfried: Erster Aufzug, Dritte Szene: Notung! Notung! Neidliches Schwert!
  5. Siegfried: Erster Aufzug, Dritte Szene: Hoho! Hoho! Hahei!
  6. Siegfried: Zweiter Aufzug: Vorspiel
  7. Siegfried: Zweiter Aufzug, Erste Szene: In Wald und Nacht
  8. Siegfried: Zweiter Aufzug, Erste Szene: Zur Neidhohle fuhr ich bei Nacht
  9. Siegfried: Zweiter Aufzug, Erste Szene: Mit mir nicht, hadre mit Mime
  10. Siegfried: Zweiter Aufzug, Erste Szene: Fafner! Fafner! Erwache, Wurm!
  11. Siegfried: Zweiter Aufzug, Erste Szene: Nun, Alberich, das schlug fehl
  12. Siegfried: Zweiter Aufzug, Zweite Szene: Wir sind zur Stelle!
  13. Siegfried: Zweiter Aufzug, Erste Szene: Dass der mein Vater nicht ist

Tracks:

  1. Siegfried: Zweiter Aufzug, Zweite Szene: Aber wie sah meine Mutter wohl aus?
  2. Siegfried: Zweiter Aufzug, Zweite Szene: Meine Mutter, ein Menschenweib!
  3. Siegfried: Zweiter Aufzug, Zweite Szene: Haha! Da hatte mein Lied mir was Liebes erblasen!
  4. Siegfried: Zweiter Aufzug, Zweite Szene: Wer bist du, kuhner Knabe, der das Herz mir traf?
  5. Siegfried: Zweiter Aufzug, Zweite Szene: Zur Kunde taugt kein Toter
  6. Siegfried: Zweiter Aufzug, Dritte Szene: Wohin schleichst du eilig und schlau
  7. Siegfried: Zweiter Aufzug, Dritte Szene: Was ihr mir nutzt, weiss ich nicht
  8. Siegfried: Zweiter Aufzug, Dritte Szene: Wilkommen, Siegfried!
  9. Siegfried: Zweiter Aufzug, Dritte Szene: Da lieg auch du, dunkler Wurm!
  10. Siegfried: Dritter Aufzug: Vorspiel
  11. Siegfried: Dritter Aufzug, Erste Szene: Wache, Wala! Wala! Erwach
  12. Siegfried: Dritter Aufzug, Erste Szene: Stark ruft das Lied

Tracks:

  1. Siegfried: Dritter Aufzug, Erste Szene: Dir Unweisen ruf' ich ins Ohr
  2. Siegfried: Dritter Aufzug, Zweite Szene: Mein Voglein schwebte mir fort!
  3. Siegfried: Dritter Aufzug, Zweite Szene: Wohin, Knabe, heisst dich dein Weg?
  4. Siegfried: Dritter Aufzug, Zweite Szene: Kenntest du mich, kuhner Spross
  5. Siegfried: Dritter Aufzug, Zweite Szene: Mit zerfochtner Waffe wich mir der Feige?
  6. Siegfried: Dritter Aufzug, Dritte Szene: Selige Ode auf sonniger Hoh!
  7. Siegfried: Dritter Aufzug, Dritte Szene: Das ist kein Mann!
  8. Siegfried: Dritter Aufzug, Dritte Szene: Heil dir, Sonne! Heil dir, Licht!
  9. Siegfried: Dritter Aufzug, Dritte Szene: O Siegfried! Siegfried! Seliger Held!
  10. Siegfried: Dritter Aufzug, Dritte Szene: Dort seh' ich Grane
  11. Siegfried: Dritter Aufzug, Dritte Szene: Ewig war ich, ewig bin ich

Tracks:

  1. Gotterdammerung: Prolog: Welch Licht leuchtet dort
  2. Gotterdammerung: Prolog: Treu beratner Vertrage Runen
  3. Gotterdammerung: Prolog: Es ragt die Burg, von Riesen gebaut
  4. Gotterdammerung: Prolog: Zu neuen Taten, teurer Helde
  5. Gotterdammerung: Prolog: Willst du mir Minne schenken
  6. Gotterdammerung: Prolog: O heilige Gotter!
  7. Gotterdammerung: Prolog: Siegfrieds Rheinfahrt
  8. Gotterdammerung: Erster Aufzug, Erste Szene: Nun hor, Hagen
  9. Gotterdammerung: Erster Aufzug, Erste Szene: Wen ratst du nun zu frein
  10. Gotterdammerung: Erster Aufzug, Erste Szene: Jagt er auf Taten wonnig umher
  11. Gotterdammerung: Erster Aufzug, Zweite Szene: Wer ist Gibichs Sohn?
  12. Gotterdammerung: Erster Aufzug, Zweite Szene: Begrusse froh, o Held
  13. Gotterdammerung: Erster Aufzug, Zweite Szene: Willkommen, Gast, in Gibichs Haus!

Tracks:

  1. Gotterdammerung: Erster Aufzug, Zweite Szene: Deinem Bruder bot ich mich zum Mann
  2. Gotterdammerung: Erster Aufzug, Zweite Szene: Bluhenden Lebens labendes Blut
  3. Gotterdammerung: Erster Aufzug, Zweite Szene: Frisch auf die Fahrt!
  4. Gotterdammerung: Erster Aufzug, Zweite Szene: Hier sitz' ich zur Wacht
  5. Gotterdammerung: Erster Aufzug, Dritte Szene: Altgewohntes Gerausch
  6. Gotterdammerung: Erster Aufzug, Dritte Szene:Hore mit Sinn, was ich dir sage!
  7. Gotterdammerung: Erster Aufzug, Dritte Szene: Welch banger Traume Maren
  8. Gotterdammerung: Erster Aufzug, Dritte Szene: Was leckt so wutend
  9. Gotterdammerung: Erster Aufzug, Dritte Szene: Brunnhild'! Ein Freier kam

Tracks:

  1. Gotterdammerung: Zweiter Aufzug: Vorspiel
  2. Gotterdammerung: Zweiter Aufzug, Erste Szene: Schlafst du, Hagen, mein Sohn?
  3. Gotterdammerung: Zweiter Aufzug, Zweite Szene: Hoiho, Hagen! Muder Mann!
  4. Gotterdammerung: Zweiter Aufzug, Zweite Szene: Heiss mich willkommen, Gibichskind!
  5. Gotterdammerung: Zweiter Aufzug, Dritte Szene: Hoiho! Hoihohoho!
  6. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Heil dir, Gunther!
  7. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Gegrusst sei, teurer Held
  8. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Einen Ring sah ich an deiner Hand
  9. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Heil'ge Gotter, himmlische Lenker!
  10. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Helle Wehr! Heilige Waffe!
  11. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Gunther, wehr deinem Weibe
  12. Gotterdammerung: Zweiter Aufzug, Funfte Szene: Welches Unholds List liegt hier verhohlen?
  13. Gotterdammerung: Zweiter Aufzug, Funfte Szene: Vertraue mir, betrogne Frau!
  14. Gotterdammerung: Zweiter Aufzug, Funfte Szene: Auf, Gunther, edler Gibichung!

Tracks:

  1. Gotterdammerung: Dritter Aufzug: Vorspiel
  2. Gotterdammerung: Dritter Aufzug, Erste Szene: Frau Sonne sendet lichte Strahlen
  3. Gotterdammerung: Dritter Aufzug, Erste Szene: Ein Albe fuhrte mich irr
  4. Gotterdammerung: Dritter Aufzug, Erste Szene: Was leid' ich doch das karge Lob?
  5. Gotterdammerung: Dritter Aufzug, Erste Szene: Siegfried! Siegfried! Siegfried!
  6. Gotterdammerung: Dritter Aufzug, Zweite Szene: Hoiho!
  7. Gotterdammerung: Dritter Aufzug, Zweite Szene: Trink, Guenther, trink!
  8. Gotterdammerung: Dritter Aufzug, Zweite Szene: Mime hiess ein murrischer Zwerg
  9. Gotterdammerung: Dritter Aufzug, Zweite Szene: In Leid zu dem Wipfel lauscht' ich hinauf
  10. Gotterdammerung: Dritter Aufzug, Zweite Szene: Brunnhilde, heilige Braut!
  11. Gotterdammerung: Dritter Aufzug, Zweite Szene: Trauermusik beim Tode Siegfrieds
  12. Gotterdammerung: Dritter Aufzug, Dritte Szene: War das sein Horn?
  13. Gotterdammerung: Dritter Aufzug, Dritte Szene: Hoiho! Hoiho!
  14. Gotterdammerung: Dritter Aufzug, Dritte Szene: Nicht klage wider mich!
  15. Gotterdammerung: Dritter Aufzug, Dritte Szene: Schweigt eures Jammers
  16. Gotterdammerung: Dritter Aufzug, Dritte Szene: Starke Scheite schichtet mir dort
  17. Gotterdammerung: Dritter Aufzug, Dritte Szene: Mein Erbe nun nehm' ich zu eigen
  18. Gotterdammerung: Dritter Aufzug, Dritte Szene: Fliegt heim, ihr Raben!

Amazon.com essential recording

Modern storage media (CD/DVD) offer both high fidelity and great reliability in the playback of music. Yet only a bit more than a generation ago, the possibilities inherent in the long-playing record inspired John Culshaw, a young producer for Decca, to attempt the most ambitious recording project ever contemplated up to that time--a complete studio recording of the Ring. Though other Rings were issued after this landmark enterprise, none have equaled the Decca Ring in popularity. There are those who prefer live performances, or who feel that the sound and theatrical effects in this recording are overdone; nonetheless this remains the benchmark Ring, as shown by its seemingly endless rerelease schedule. The Ring effort was high profile at the time and helped nail down Sir Georg Solti's status as a "superstar" conductor and authoritative interpreter of the Wagnerian repertory. Another key contributor to the success of the project was the uniform excellence in the casting. Definitive performances given include Neidlinger's nietzschean Alberich, Stolze's whining Mime, Boehme's rumbling Fafnir, along with Nilsson in her prime-more a force of nature than a human voice. The care lavished on the capture of the music was unmatched at the time of the recording, and still leaves this as one of the best sounding Rings even today, when the oldest part (Rheingold) has reached its 40th anniversary. --Christian C. Rix

Customer Reviews:

5 out of 5 stars "Leb wohl, Siegmund, seligster Held!".......2007-05-15

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

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

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

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

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

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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).

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

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

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

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

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. I don't know Levine should've chose Kollo when he recorded his Ring.

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

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

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

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.

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

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

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

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. 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.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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

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

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. 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.

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 depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen 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 Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

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


Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Reginall Goodall: Wagner: The Ring Cycle (Box Set)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

Wolfgang Sawallisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

5 out of 5 stars Easily the best investment I've ever made!!!.......2006-09-07

Solti is a true Wagnerian!!! There is truly no one better! In every single Wagner recording under his baton (under the fantastic engineering of the Decca label), there is a power, intensity, and ethereal quality that rings true from first note to last. This studio recording of the Ring Cycle is probably his strongest effort. Virtually every nuance that Wagner desired is apparent, from echoes, to characterizations, to instruments used (the steer-horns in Gotterdammerung). All of his singers are nothing short of the best, especially Hotter, Windgassen, and Nilsson (all of whom are sadly not around any longer). They do everything they can to help Solti bring Wagner's deepest conceptions to life. It's a shame that this performance wasn't filmed. The only thing missing is the visual aspect, but that's a very minute matter, when dealing with a top-notch recording like this one. It pulls the listener in, like he's there, experiencing the story with the likes of Wotan, Siegmund, Siegfried, and Brunnhilde. The package is also an excellent bonus, full of very informative liner notes, as well as set designs and beautiful drawings by the great Arthur Rackham. I paid $120 for this box set, brand new, but I would've gladly paid double that, if necessary. I don't know what I would do without this recording. (If you're feeling dangerous, as I have, try listening to the whole thing, with a nice comfortable set of headphones, with only the occasional bathroom breaks and eating/drinking to stay alive. If you can endure such an intense task, you will not regret it, but make sure you follow every word. Everything counts.) 100 stars!!!

5 out of 5 stars Possibly the greatest recording of the century.......2006-08-17

Ever since the reopening of the Bayreuth Festival in 1951, the operatic world has been blessed with many Ring recordings that are brimming with life and searing in interpretation. The work is certainly the most ambitious and fascinating musical epic ever set on paper, and due to its intricate music and magnificent and poetic text, it has influenced the way music making has been done ever since the Master presented it to the world in 1876. Now, 130 years after that first Ring cycle, the market abounds with hordes of Ring recordings raging from magnificent to deplorable, and with the cost of having to contain such a grand epic in recordable media for the listener to enjoy at home, the pricetags for these Rings are always going to be astounding.

A Ring cycle in the recording studio, of course, is no longer a foreseeable possibility today. The recent Tristan by EMI alone took a good month in the recoring studio, and with the increasingly high wages in the musician's union and the expensive fees needed to pay competent and artistic Wagnerian singers, another Ring in the studio would probably be a Herculean task at best. And, to add to that, the world is sorely lackiing of hochdramatische sopranos, true heldentenors, and great bass-baritones to sing the parts of the cycle's most difficult roles--Brunnhilde, Siegfried, and Wotan. The dearth of these species of voices, plus the scarcity of conductors who can masterfully lead an orchestra into playing one of the most complicated scores ever written in the true Wagnerian style, makes these matters more complicated. In my opinion, only Christian Thielemann can possibly execute this vision effectively today. Due to this, in order to be able to experience this monumental opus, you must turn to the recordings of the past to sample the greatness of Richard Wagner.

I personally feel that the greatest Rings come from the postwar Wieland Wagner Bayreuth festivals. Under his leadership, a calibre of Wagner singing was formed and has been unmatched ever since his premature death from lung cancer. With a team that consisted of chorus master Wilhelm Pitz, singers Astrid Varnay, Hans Hotter, Wolfgang Windgassen, Ramon Vinay, Gustav Neidlinger, Gre Brouwenstijn, Martha Modl, and later Birgit Nilsson, Martti Talvela, James King, Leonie Rysanek, and other singers who owned these roles in the Theatre on the Green Hill, plus a plethora of conductors that consisted of Herbert von Karajan, Hans Knappertsbusch, Clemens Krauss, Joseph Keilberth, and Rudolf Kempe (all conductors who by some divine intervention all had last names beginning with "K"), Wieland Wagner unveiled a new and fresh way of Wagner interpretation along with a team of singers and musicians who made this great music sing.

Some people though, would much prefer the music in the undisturbed, almost pristine conditions achieved by the recording studio. While there are several Der Ring des Nibelungen that have come out of recording halls following this one, none of them have matched it in popularity. And there is a reason for that of course. Solti leads the Wiener Philharmoniker in a recording that brings the theatrical values of Wagner's operas to the comfort of the living room without the stage noises and other distractions that some listeners seem to detest. In addition to that, the care put into immortalizing this Ring in recording media has made it one of the most "real"-sounding performances on disc. Here, you get the steerhorns and tuned anvils and metal bars that Wagner personally requested to be put into the score, in addition to other sound effects that would be impossible to realize in the theater. You can hear the violent thunder in the opening of Act III of Siegfried and the closing scene of Rheingold. I could go on about all these little details, but I leave that for you to witness yourself.

That said about its realistic audio qualities, I would like to discuss the merits of Solti's conducting. It is true that while Solti had a heavy hand in this recording in comparison with conductors such as Karajan, Krauss, Bohm, and Boulez who exuded transparency in their readings, he brings everything in the score to life. He understands Wagner's score well, and his reading is closer to Knappertsbusch on a good day, a method that harkens the traditional way of conducting Wagner. He also has good judgment as to where tempi changes must be made, as can be heard from the closing scene of Das Rheingold. The orchestration during Donner's "Heda Hedo!" is simply ravishing, and the tempi that Solti uses and adjusts to sounds dramatically right. Wagner himself would have been proud. His understanding of the more complex and post-Tristan scores of Siegfried and Gotterdammerung are still unparalleled today. From the Mime Wanderer riddle scene to the Forging song to the Wotan Erda confrontation and the glorious love duet that ends the opera, Solti gets all the orchestral nuances perfectly. His Siegfried is so alive, that any recording after that can be considered below par. But if there was ever one recording that deserved the praise this Ring receives, it has to be Solti's Gotterdammerung. From the haziness of the Norn scene to the Dawn love duet and the Gibichung hall music, and the Waltraute Brunnhilde dialogue, I think Solti captures this Act perfectly. Act 2 is done well too, with Gottlob Frick's menacing Hagen and Neidlinger's definitive Alberich creating a most sinister mood accompanied by Solti's masterly conducting. The revenge trio that caps the act is perfectly executed by the Vienna Philharmonic, and I think that if it were not for the presence of Knappertsbusch's recent Testament release with Varnay and Uhde, this would also probably be the best Act II on disc. Then we have Act III, the culmination of the Ring cycle. From the chattering of the Rhinemaidens to Siegfried's death and funeral march to the glorious Immolation Scene, I think this Act III represents Wagner's music at its greatest, and no other recording captures the essence of the final moments of the Ring with all its synthesis of the various leitmotifs in such a moving manner. This is, perhaps, the best conducted Ring of the studios, and on a good day, I would feel exceeds that of the Bayreuth rings. (Hey! I have my Wagner whims too, and on some days, I if tend to have a preference for Krauss, Karajan, Knappertsbusch, or Bohm...that is my preference! Chacun a son gout!)

Now for the cast. I have never seen such a glorious cast assembled in the recording studio such as this, and everything from Neidlinger's Alberich, Nilsson's Brunnhilde, Hotter and London's Wotans, Windgassens's Siegfried, Flagstad's Rheingold Fricka and Ludwig's Walkure Fricka, Hoffgen's Erda, King's Siegmund, Crespin's Sieglinde, Frick's Hagen and Hunding, Bohme's characterful Fafner, Sutherland woodbird, Stolze's Mime, and the chattery and lusty Walkures, Norns, and Rheinmaidens is simply a vocal treat. That said, these individual singers' solo performances can be heard to greater advantages elsewhere, but nowhere are they captured better vocally than here. Of course, some singers such as Hotter are no longer in their prime, but what a magnificent performance he gives! His Wotan is so grand and noble that I think that the only Wotan who beats him is his younger self. Nilsson's Brunnhilde is a force of nature. Her missile-like voice is fascinating, encompassing Brunnhilde's vocal music with such ease that one would think Brunnhilde was a walk in the park. She is hands-down one of the greatest Brunnhildes ever, along with Astrid Varnay and Martha Modl. Siegfried here is sung by Windgassen, the tenor who single-handedly solved Bayreuth's heldentenor shortage for more than a decade. His voice, of course, has aged, but he is such an intelligent artist that one cannot help but listen to his Siegfried artistically portrayed without any vocal problems that today's many Siegfrieds encounter. James King is a most moving Siegmund, surpassed only by his Bohm interpretation and possibly Ramon Vinay on a good day, and his Sieglinde, Regine Crespin, is one of the most female and human singers ever to have brought the role to life. Christa Ludwig is the most sumptuous Fricka and Waltraute on disc, combining her great vocal beauty with her consummate artistry. Her singing here is nothing short of definitive. The Walkures are all great, the cast including two future Brunnhildes: Helga Dernesch and Berit Lindholm. The supporting cast of giants is also very good, with Kurt Bohme as a most characterful Fafner. I think that the Fasolt could have been sung better though. The Norns also consist of some of the most famous singers of the Wagnerian oeuvre, some of them taking the great roles in the years to come. Hoffgen sings Erda magnificently. My only quibble here is the casting choices used for Rheingold's Rheintochters. They sound a bit old. They characterize their characters playfully, but one could wish that Solti had used the maidens singing for Karajan or Bohm's recording. Otherwise, the cast is almost flawless.

Must this be your first Ring? With the care lavished on such a great project (Culshaw's attention to the miniscule details in the score), Solti's wonderful conducting, and a cast that truly represents the golden age of Wagner, I would say, this is an essential recording for anyone's collection. It is possibly the greatest achievement in the recording studio, and in many ways, the greatest recording of the century.

3 out of 5 stars Wonderful recording - GLARING TECHNICAL ISSUE.......2006-06-03

Fine recording, good performance, historical in scope and a great box set. HOWEVER:

Being a musician and an opera fan, as well as being a recording engineer, I own several releases of this particular collection of recordings by London/Decca. The original recording of Das Rheingold (the first set of CDs in this boxed set of operas) dates back to the late-1950s, and stands as a landmark achievement in audio recording, especially considering that it is the first EVER complete studio recording ever made of Das Rheingold. First released on vinyl and reel-to-reel tapes in the late-50, this recording has been re-released countless times in several formats, including an excellent mid-1970s release on Dolby-B encoded reel-to-reel tape.

The CD collection has a glaring, horrible problem that I do not see mentioned ANYWHERE in these Amazon blogs, and it shocks me that no other musicians have noticed: THE ENTIRE OPERA "DAS RHEINGOLD" IN THIS COLLECTION IS OFF PITCH!! PITCH FOR THE ENTIRE OPERA IS NEARLY A SEMITONE SHARP!! NEARLY A SEMITONE!!!!!! Historically, there is an explanation for this. From my understanding of the issue, the recording was made in Vienna on American Ampex tape machines that were shipped to London/Decca for the purpose. The tape machines used synchronous motors that were erroneously not adjusted to compensate for the difference in line frequencies between the U.S. and Europe, and therefore the tape machines ran fractionally slow. Play the master tapes back on a tape machine running at the correct speed, and the master recording plays FRACTIONALLY FAST.

None of the earlier releases of this opera that I have ever heard share this issue, since all submasters of the recording would have been adjusted to compensate for the original technical error, and the adjustment done properly in the analog realm has absolutely no negativerepurcussions on the product outcome.

The CD collection portends to have returned to the original master, and that may be the issue. Nonetheless, why hasn't anyone with music knowledge raised the red flag about this egregious error in the CD release?? Why doesn't anyone notice?? I even attempted to write London/Decca about the issue and have received no reply.

Most people with good pitch will recognize when a recording is 75-80 cents (nearly a semitone) sharp!! If you are a musician, you will not be happy with Das Rheingold in this collection, due to the glaring pitch problem. A true pity, and shame on London/Decca.

5 out of 5 stars LORD OF THE RINGS.......2006-03-31

This recording is the Lord of the all ring cycles...I can't say anything else...No need to explain it like you are writing a novel or talking about a legend...You have to experience it...JUST DO IT

This review can't help you...Only listening and God can help you with this stuff...

Can EL
Wagner: Der Ring des Nibelungen
Average customer rating: 5 out of 5 stars
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 Wagner: Der Ring des Nibelungen

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  1. Wagner: Der Ring des Nibelungen
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  5. Wagner: Siegfried

ASIN: B000025ESY
Release Date: 2006-09-12

Tracks:

  1. Prelude
  2. Scene One: 'Weia! Waga! Woge, Du Welle!'
  3. Scene One: 'Garstig Glatter Glitschriger Glimmer!'
  4. Scene One: 'Wallala! Lalaleia! Leialalei!'
  5. Scene One: 'Lugt, Schwestern! Die Weckerin Lacht In Den Grund'
  6. Scene One: 'Der Welt Erbe Gewann' Ich Zu Eigen Durch Dich'
  7. Scene One: Orchestral Interlude
  8. Scene Two: 'Wotan! Gemahl! Erwache!'
  9. Scene Two: 'Nur Wonne Schafft Dir, Was Mich Erschreckt'
  10. Scene Two: 'Sanft Schloss Schlaf Dein Aug'
  11. Scene Two: 'Zu Mir, Freia!'
  12. Scene Two: 'Endlich Loge!'
  13. Scene Two: 'Immer Ist Undank Loges Lohn'
  14. Scene Two: 'Taugte Wohl Des Goldnen Tandes'
  15. Scene Two: 'Hor', Wotan, Der Harrenden Wort!'
  16. Scene Two: 'Jetzt Fand Ich's: Hort, Was Euch Fehlt'
  17. Scene Two: Orchestral Interlude: Descent Into Nibelheim
  18. Scene Three: 'Hehe! Hehe! Hieher! Hieher!'

Tracks:

  1. Scene Three: 'Wer Halfe Mir?'
  2. Scene Three: 'Mit Eurem Gefrage'
  3. Scene Three: 'Was Wollt Ihr Hier?'
  4. Scene Three: 'Habt Acht'
  5. Scene Three: 'Riesen-Wurm Winde Sich Ringelnd'
  6. Scene Three: Orchestral Interlude: Return From Nibelheim
  7. Scene Four: 'Da, Vetter, Sitze Du Fest!'
  8. Scene Four: 'Wohlan, Die Nibelungen Rief Ich Mir Nah'
  9. Scene Four: 'Zu Deiner Losung Musst Du Ihn Lassen'
  10. Scene Four: 'Bin Ich Nun Frei?' - Alberich's Curse
  11. Scene Four: 'Lauschtest Du Seinem Liebesgruss?'
  12. Scene Four: 'Halt! Nicht Sie Beruhrt!'
  13. Scene Four: 'Nicht So Leicht Und Locker Gefugt'
  14. Scene Four: 'Freia, Die Schone, Schau' Ich Nicht Mehr'
  15. Scene Four: 'Weiche, Wotan, Weiche!'
  16. Scene Four: 'Hort, Ihr Riesen! Zuruck Und Harret'
  17. Scene Four: 'Furchtbar Nun Erfind' Ich Des Fluches Kraft'
  18. Scene Four: 'Schwules Gedunst Schwebt In Der Luft'
  19. Scene Four: 'Zur Burg Fuhrt Die Brucke'
  20. Scene Four: 'Rheingold! Rheingold!'

Tracks:

  1. Act One: Prelude
  2. Act One: Scene One - 'Wes Herd Dies Auch Sei, Hier Muss Ich Rasten'
  3. Act One: Scene One - 'Kuhlende Labung Gab Mir Der Quell'
  4. Act One: Scene Two - 'Mud Am Herd Fand Ich Den Mann'
  5. Act One: Scene Two - 'Friedmund Darf Ich Nicht Heissen'
  6. Act One: Scene Two - 'Aus Dem Wald Trieb Es Mich Fort'
  7. Act One: Scene Two - 'Ich Weiss Ein Wildes Geschlecht'
  8. Act One: Scene Three - 'Ein Schwert Verhiess Mir Der Vater'
  9. Act One: Scene Three - 'Der Manner Sippe Sass Hier Im Saal'
  10. Act One: Scene Three - 'Wintersturme Wichen Dem Wonnemond' - 'Du Bist Der Lenz'
  11. Act One: Scene Three - 'Wehwalt Heisst Du Furwahr?' - 'Siegmund Heiss Ich'

Tracks:

  1. Act Two: Prelude
  2. Act Two: Scene One - 'Nun Zaume Dein Ross' - 'Hojotoho' - 'Der Alte Sturm, Die Alte Muh'!'
  3. Act Two: Scene One - 'Heut Has Du's Erlebt' - 'So Ist Es Denn Aus'
  4. Act Two: Scene One - 'Was Verlangst Du?' - 'Dort Kommt Deine Kuhne Maid'
  5. Act Two: Scene Two - 'Schlimm, Furcht Ich, Schloss Der Streit'
  6. Act Two: Scene Two - 'Lass Ich's Verlauten' - 'Was Keinem In Worten Ich Kunde'
  7. Act Two: Scene Two - 'Ein Andres Ist's: Achte Es Wohl'
  8. Act Two: Scene Two - 'So Sah Ich Siegvater Nie'
  9. Act Two: Scene Three - 'Raste Nun Hier; Gonne Dir Ruh!' - 'Hinweg! Hinweg! Flieh Die Entweihte'

Tracks:

  1. Act Two: Scene Four - 'Siegmund, Sieh Auf Mich!' - 'Hehr Bist Du'
  2. Act Two: Scene Four - 'Du Sahest Der Walkure Sehrenden Blick'
  3. Act Two: Scene Five - 'Zauberfest Bezahmt' - 'Kehrte Der Vater Nun Heim'
  4. Act Three: Scene One - 'Hojotoho! Heiaha!' - 'Wart Ihr Kuhnen Zu Zweit?'
  5. Act Three: Scene One - 'Schutzt Mich Und Helft Mir In Hochster Not'
  6. Act Three: Scene One - 'Nicht Sehre Dich' - 'Fort Denn Eile' - Scene Two - 'Wo Ist Brunnhild', Wo Die Verbrecherin?'

Tracks:

  1. Act Three: Scene Two - 'Hier Bin Ich, Vater' - 'Nicht Straf Ich Dich Erst'
  2. Act Three: Scene Three - 'War Es So Schmahlich?' - 'Nicht Weise Bin Ich'
  3. Act Three: Scene Three - 'Deinen Leichten Sinn' - 'Wohl Taugte Dir Nicht'
  4. Act Three: Scene Three - 'Du Zeugtest Ein Edles Geschlecht' - 'In Festen Schlaf'
  5. Act Three: Scene Three - 'Leb Wohl, Du Kuhnes, Herrliches Kind!'
  6. Act Three: Scene Three - 'Loge, Hor! Lausche Hieher!'

Tracks:

  1. Act One: Prelude
  2. Act One: Scene One - 'Zwangvolle Plage! Muh Ohne Zweck!'
  3. Act One: Scene One - 'Nun Tobst Du Wieder Wie Toll'
  4. Act One: Scene One - 'Vieles Lehrtest Du, Mime'
  5. Act One: Scene One - 'Wo Hast Du Nun, Mime, Dein Minniges Weibchen'
  6. Act One: Scene One - 'So Starb Meine Mutter An Mir?'
  7. Act One: Scene One - 'Das Gab Mir Deine Mutter'
  8. Act One: Scene Two - 'Heil Dir, Weiser Schmied!'
  9. Act One: Scene Two - 'Hier Sitz' Ich Am Herd'
  10. Act One: Scene Two - 'Viel, Wanderer, Weisst Du Mir'
  11. Act One: Scene Two - 'Was Zu Wissen Dir Frommt, Solltest Du Fragen'
  12. Act One: Scene Two - 'Notung Heisst Ein Neidliches Schwert'

Tracks:

  1. Act One: Scene Three - 'Nach Eitlen Fernen Forchtest Du'
  2. Act One: Scene Three - 'Verfluchtes Licht! Was Flammt Dort Die Luft?'
  3. Act One: Scene Three - 'Fuhltest Du Nie Im Finstren Wald'
  4. Act One: Scene Three - 'Her Mit Den Stucken, Fort Mit Dem Stumper!'
  5. Act One: Scene Three - 'Notung! Notung! Neidliches Schwert!'
  6. Act One: Scene Three - 'Hoho! Hoho! Hohei! Hohei!'
  7. Act One: Scene Three - 'Den Der Bruder Schuf, Den Schimmernden Reif!'
  8. Act Two: Prelude
  9. Act Two: Scene One - 'In Wald Und Nacht Vor Neidhohl' Halt' Ich Wacht'
  10. Act Two: Scene One - 'Durch Vertrages Treuerunen'
  11. Act Two: Scene One - 'Fafner, Fafner! Erwache Wurm'
  12. Act Two: Scene One - 'Ich Lieg' Und Besitz', Lasst Mich Schlafen!'
  13. Act Two: Scene Two - 'Wir Sind Zur Stelle! Bleib Hier Stehn!'
  14. Act Two: Scene Two - 'He, Du Alter! Ist Das Alles'
  15. Act Two: Scene Two - 'Dass Der Mein Vater Nicht Ist'

Tracks:

  1. Act Two: Scene Two - 'Aber, Wie Sah Meine Mutter Wohl Aus?'
  2. Act Two: Scene Two - 'Du Holdes Voglein! Dich Hort' Ich Noch Nie'
  3. Act Two: Scene Two - 'Es Schweigt Und Lauscht'
  4. Act Two: Scene Two - Siegfried's Horn-call
  5. Act Two: Scene Two - 'Haha! Da Hatte Mein Lied Mir Was Liebes Erblasen!'
  6. Act Two: Scene Two - 'Da Lieg, Neidischer Kerl'
  7. Act Two: Scene Two - 'Zur Kunde Taugt Kein Toter'
  8. Act Two: Scene Three - 'Wohin Schleichst Du So Eilig Und Schlau'
  9. Act Two: Scene Three - 'Willkommen, Siegfried!'
  10. Act Two: Scene Three - 'Das Sagt' Ich Doch Nicht?'
  11. Act Two: Scene Three - 'Neides Zoll Zahlt Notung'
  12. Act Two: Scene Three - 'Hei! Siegfried Erschlug Nun Den Schlimmen Zwerg!'
  13. Act Three: Prelude
  14. Act Three: Scene One - 'Wache, Wala! Wala! Erwach!'
  15. Act Three: Scene One - 'Stark Ruft Das Lied'
  16. Act Three: Scene One - 'Dir Unweisen Ruf' Ich Ins Ohr'
  17. Act Three: Scene Two - 'Dort Seh' Ich Siegfried Nahn'

Tracks:

  1. Act Three: Scene Two - 'Mein Voglein Schwebte Mir Fort!'
  2. Act Three: Scene Two - 'Kenntest Du Mich, Kuhner Spross'
  3. Act Three: Scene Two - Orchestral Interlude
  4. Act Three: Scene Three - Introduction
  5. Act Three: Scene Three - 'Selige Ode Auf Sonniger Hoh'!'
  6. Act Three: Scene Three - 'Das Ist Kein Mann'
  7. Act Three: Scene Three - 'Heil Dir, Sonne! Heil Dir, Licht'
  8. Act Three: Scene Three - 'O Siegfried! Siegfried! Seliger Held!'
  9. Act Three: Scene Three - 'Dort Seh' Ich Grane, Mein Selig Ross'
  10. Act Three: Scene Three - 'Ewig War Ich, Ewig Bin Ich'

Tracks:

  1. Prologue: 'Welch Licht Leuchtet Dort?'
  2. Prologue: 'Wisset Ihr Noch, So Windet Von Neuem Das Seil'
  3. Prologue: Orchestral Interlude (Dawn)
  4. Prologue: 'Zu Neuen Taten, Teurer Helde'
  5. Prologue: 'O Heilige Gotter! Hehre Geschlechter!'
  6. Prologue: Orchestral Interlude (Siegfried's Journey To The Rhine)
  7. Act One: Scene One - 'Nun Hor, Hagen, Sage Mir, Held'
  8. Act One: Scene One - 'Brachte Siegfried Die Braut Dir Heim'
  9. Act One: Scene Two - 'Heil! Siegfried, Teurer Held'
  10. Act One: Scene Two - 'Willkommen, Gast, In Gibichs Haus'

Tracks:

  1. Act One: Scene Two - 'Deinem Bruder Bot Ich Mich Zum Mann'
  2. Act One: Scene Two - 'Bluhenden Lebens Labendes Blut'
  3. Act One: Scene Two - 'Hier Sitz Ich Zur Wacht'
  4. Act One: Scene Two - Orchestral Interlude
  5. Act One: Scene Three - 'Altgewohntes Gerausch Raunt Meinem Ohr Die Ferne'
  6. Act One: Scene Three - 'Hore Mit Sinn, Was Ich Dir Sage'
  7. Act One: Scene Three - 'Welch Banger Traume Maren'
  8. Act One: Scene Three - 'Brunnhild'! Ein Freier Kam'

Tracks:

  1. Act Two: Prelude
  2. Act Two: Scene One - 'Schlafst Du, Hagen, Mein Sohn?'
  3. Act Two: Scene One - Orchestral Interlude
  4. Act Two: Scene Two - 'Hoiho, Hagen! Muder Mann!'
  5. Act Two: Scene Three - 'Hoiho! Ihr Gibichsmannen'
  6. Act Two: Scene Four - 'Heil Dir, Gunther'
  7. Act Two: Scene Four - 'Brunnhild', Die Hehrste Frau'
  8. Act Two: Scene Four - 'Was Muht Brunnhildes Blick?'
  9. Act Two: Scene Four - 'Ha! Dieser War Es, Der Mir Den Ring Entriss'
  10. Act Two: Scene Four - 'Helle Wehr! Heilige Waffe!'
  11. Act Two: Scene Five - 'Welches Unhods List Liegt Hier Verhohlen?'
  12. Act Two: Scene Five - 'Dir Hilft Kein Hirn'
  13. Act Three: Prelude - Scene One - 'Frau Sonne Sendet Lichte Strahlen'

Tracks:

  1. Act Three: Scene One - 'Siegfried!'
  2. Act Three: Scene One - 'Ihr Listigen Frauen, Lasst Das Sein!'
  3. Act Three: Scene Two - 'Hoiho!'
  4. Act Three: Scene Two - 'Trink, Gunther, Trink!'
  5. Act Three: Scene Two - 'Mime Hiess Ein Murrischer Zwerg'
  6. Act Three: Scene Two - 'Brunnhilde, Heilige Braut!'
  7. Act Three: Scene Two - Orchestral Interlude: Funeral March
  8. Act Three: Scene Three - 'War Das Sein Horn?'
  9. Act Three: Scene Three - 'Schweigt Eures Jammers Jauchzenden Schwall'
  10. Act Three: Scene Three - 'Starke Scheite Schichtet Mir Dort'
  11. Act Three: Scene Three - 'Mein Erbe Nun Nehm' Ich Zu Eigen'
  12. Act Three: Scene Three - 'Grane, Mein Ross, Sei Mir Gegrusst!'
  13. Act Three: Scene Three - 'Zuruck Vom Ring!'

Album Details

14 CD Box Set, Including the Complete Recording of Wagner's 'ring Des Nibelungen'.

Customer Reviews:

5 out of 5 stars "Nothung! Nothung! Neidliches Schwert!".......2007-05-15

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

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

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

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

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

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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).

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

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

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

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

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. I don't know Levine should've chose Kollo when he recorded his Ring.

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

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

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

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.

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

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

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

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. 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.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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

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

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. 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.

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 depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen 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 Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

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


Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Reginall Goodall: Wagner: The Ring Cycle (Box Set)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

Wolfgang Sawallisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

5 out of 5 stars The best Ring in the market.......2006-07-05

Most people would say that Solti's ring is the best recording of Wagner's monumental work, and while I say that it is the best studio recording in terms of authenticity (hint: Culshaw's use of steerhorns, tuned anvils, and ignots and other sound devices plus his alteration of Windgassen's voice in Gotterdammerung) and vocal performance, Bohm's ring surpasses Solti's with respect to the score's dramatic aspects. I say this because the singers in this recording are deeply involved in Wagner's complex drama, which is very essential to the composer's Gesamtkunswerks. The cast is almost similar, with some better or lesser singers in this and that role. I would say that the Valkyries, Norns, and Rhinemaidens are particularly ravishing in this Ring, more so than Solti's. You also have a much more involved Walsung pair, and while Bohm's Wotan is nowhere near as great as Hotter, he does give a most intense, heroic, and outstanding reading. Birgit Nilsson is a more convincing Brunnhilde here, and Windgassen's Siegfried is thrilling. Erwin Wolfhart is probably the best Mime on record, and Martha Modl's Waltraute has the most powerfully dramatic reading of the role I have heard. The bass roles are taken by greats such as Talvela, Bohme, Nienstiedt, and Greindl (whose Hagen is still amazing after all these years), and Anja Silja sings one of the strongest Freias on disc. Dvorakova brings a fresh insight to the role of Gutrune that I couldn't help but notice this character after it has been mangled by indifferent sopranos in the past (except Janowitz, who makes magic with the role).

This Ring is the first Bayreuth Ring officially recorded and the sound is excellent and well-balanced compared to other Rings of the era. He is also an outstanding Ring conductor in that his use of fast tempi, passion, lyricism, and phrasing that sings and sometimes almost dances creates a very theatrical atmosphere and offers amazing musical richness. Listen to the opening bars of Rheingold and his Gotterdammerung Prelude, and you will know what I mean. He and Wieland Wagner have created a stage drama that is unsurpassed in dramatic value. His Ring displays wonderful humanity and the rendering of each character's feelings has never been so alive, not even in Solti or Karajan's readings. Highly recommended.
Der Ring des Nibelungen / Karajan / Berlin Philharmonic
Average customer rating: 4.5 out of 5 stars
  • Partial set
  • "Wie durch Fluch er mir gerieth, verflucht sei dieser Ring!"
  • One of the best versions of The Ring
  • This is Karajan's Ring, not Wagner's
  • THE FINEST RING...
 Der Ring des Nibelungen / Karajan / Berlin Philharmonic
Dietrich Fischer-Dieskau , Richard Wagner , Jon Vickers , Thomas Stewart , Jess Thomas , Gundula Janowitz , Helga Dernesch , Regine Crespin , Helge Brilioth , Martti Talvela , Karl Ridderbusch , Herbert von Karajan , and Berlin Philharmonic
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Opera & Vocal | Styles | Music
GermanGerman | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
Crespin, RegineCrespin, Regine | Divas | Opera & Vocal | Styles | Music
Janowitz, GundulaJanowitz, Gundula | Divas | Opera & Vocal | Styles | Music
GeneralGeneral | Classical | Styles | Music
Deutsche Grammophon: MusicDeutsche Grammophon: Music | Specialty Stores | Music
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  3. Wagner: Der Ring des Nibelungen
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  5. Wagner - Die Meistersinger von Nurnberg / Kollo · Donath · Adam · G. Evans · Schreier · Hesse· Riderbusch · Karajan

ASIN: B000009CMV
Release Date: 1998-07-14

Amazon.com essential recording

DG's 20-bit transfer reveals more tape hiss than before, while the orchestral image is better focused, with more definition at the bottom end. Some have likened Herbert von Karajan's "chamber-music approach" to Wagner's Ring cycle in terms of his scaling down or deconstructing the heroic roles. This approach has less to do with dynamics per se than it does with von Karajan's masterful balancing of voices and instruments. He achieves revelations of horizontal clarity, allowing no contrapuntal strand to emerge with an unwanted accent or a miscalibrated dynamic. The texts are unusually pinpointed and distinct, although the singers don't convey the experience and dimension of Sir Georg Solti's cast on London. There are exceptions. Jon Vickers's probing, complex Siegmund, for instance, is paired with Gundula Janowitz's radiant SIeglinde. Martti Talvela is arguably the most sympathetic, touching Fasolt on record, and Gerhard Stolz's Mime is less caricatured and more direct here than for Solti. I similarly prefer Christa Ludwig's Waltraute for von Karajan. The underrated Helge Brilioth's warmly ringing and musically solid Götterdämmerung Siegfried will be a welcome surprise. Smaller roles benefit from strong casting, notably the well-tuned Rheinmaidens and Valkyries. When all is said and done, however, it's von Karajan's show, and the glorious Berlin Philharmonic are the stars. --Jed Distler

Customer Reviews:

3 out of 5 stars Partial set.......2007-06-21

None of the reviewers mentions that this 14 cd set contains NO LIBRETTO. Repeat: NO LIBRETTO. Please print this information. Otherwise somebody's gonna get burned.

J.W.T.

5 out of 5 stars "Wie durch Fluch er mir gerieth, verflucht sei dieser Ring!".......2007-05-15

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

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

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

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

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

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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).

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

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

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

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

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. I don't know Levine should've chose Kollo when he recorded his Ring.

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

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

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

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.

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

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

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

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. 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.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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

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

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. 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.

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 depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen 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 Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

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


Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Reginall Goodall: Wagner: The Ring Cycle (Box Set)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

Wolfgang Sawallisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

5 out of 5 stars One of the best versions of The Ring.......2007-04-15

There are a handful of estimable versions of Wagner's epic "Der Ring des Nibelungen." Solti's is one. Boulez' version has its advocates, too. But, among these, Herbert von Karajan's version must also be included. While some speak of his "chamber-music" approach, I cannot say that I fully get that. Listen to the end of Act I in "Die Walkure" or the conclusion of the "Immolation Scene" in "Gotterdammerung." Hardly soft, wispy pieces. However, von Karajan and the Berlin Philharmonic Orchestra play in lustrous fashion. As the above "Editorial Review" states, "The approach has less to do with dynamics per se than it does with von Karajan's masterful balancing of voices and instruments." And that is what I hear when I listen to this version.

Some have mentioned the importance of the instrumental work in the Ring series. Indeed, this is critical for any successful performance, given the long stretches of instrumental work (e.g., "Siegfried's Rhine Journey" in "Gotterdammerung"). And von Karajan conducts the entire series with style, intelligence, and musicality. Act I, Scene 2 of "Die Walkure" is one of the greatest moments in opera, And the Berlin Philharmonic with von Karajan at its helm plays this in a manner supporting the singers, consistent with the unfolding drama, and in with absolutely scintillating musicality. This segment represents one of the "greatest hits" in all of recorded opera.

The pluses of this version include the conductor and orchestra, of course. Also, the stable of singers is up to the task. Jon Vickers makes for a credible Siegmund and Gundula Janowitz handles Sieglinde's role well. Regine Crespin, in "Die Walkure," is adequate as Brunnhilde, but Helga Dernesch really "steps up to the plate" in the later operas. Siegfried is sung by two different tenors--Jess Thomas in "Siegfried" and Helge Brilioth in "Gotterdammerung." Wotan is well sung by the great Dietrich Fischer-Dieskau in "Das Rheingold" and by Thomas Stewart in "Die Walkure" and "Siegfried." The secondary players are strong as well.

The whole lives up to the hype surrounding this version. Again, this ranks as one of the premier recorded versions of the Ring cycle, with Solti's and Boulez' version (and one might also listen to Toscanini's 1941 recorded versions of Act I, Scene 2 of "Die Walkure" and two scenes in "Gotterdammerung," featuring Helen Traubel and Lauritz Melchior for some historical perspective). If one wishes to invest a fair chunk of cash in a recording of the full cycle, then