Wagner: Die Walküre, Act 1 / Domingo, Polaski, Tomlinson; Barenboim

Editorial Reviews
Amazon.com essential recording
The action of Wagner's Ring cycle begins, as singer-comedienne Anna Russell so wryly put it, in the Rhine River--"that's right, in it." But newcomers who'd like to venture beyond the standard dose of orchestral excerpts may well find that the opening act of Die Walküre (the second of the cycle's four operas) offers the most immediately appealing point of access into the world of the Ring. This is, after all, the point where the cycle's first merely human characters take the stage. The process whereby protagonists Siegmund and Sieglinde fall in love and temporarily escape their doom inspired some of the most rapturous, incandescent outpouring of music to be found in all Wagner. This live concert performance from 1993 conveys both the urgency and compassion of the score with unremitting immediacy. As with his Tristan and Lohengrin, Daniel Barenboim once again gives proof that he has matured into a formidable Wagnerian, from the taut tension of the stormy prelude and the quasi-chamber-music dimensions of the first scene to the brilliantly colored apexes of the love music. Placido Domingo is captured here in top form, portraying a convincingly youthful and passionate Siegmund. Although he throws away an occasional phrase, the stamina of his voice is downright thrilling, particularly in his desperate, sustained call to "Wälse." Domingo's multifaceted approach moreover conveys the hero's fear and vulnerability as well as the tenderly phrased lyrical warmth of "Winterstürme." Deborah Polaski matches her lover's large sound with heart-racing charisma; hers is less a beaten-down, introspective Sieglinde than a woman determined to escape an awful fate through the power of love. John Tomlinson's resounding bass etches an imposing and viscerally frightening Hunding. The engineering is excellent, with brooding, dark colors from the Staatskapelle's lower strings and woodwinds as well as brightly ringing brass. This may be all the inducement you need to discover the entire Ring; for that, you might like to turn to Georg Solti's classic recording. --Thomas May

Wagner: Die Walküre, Act 1 / Domingo, Polaski, Tomlinson; Barenboim, Music, Richard Wagner, Daniel Barenboim, Plácido Domingo, Deborah Polaski, Staatskapelle Berlin, John Tomlinson, Classical, Classical Music, Classical Vocals, German/Austrian Romantic Opera, Opera, Opera/Operetta

Average customer rating:

Promises kept

Probably as good as we'll get - get it for Barenboim

Fascinating

A first-rate performance

Barenboim's "Walkure"-Almost Perfect

Wagner: Die Walküre, Act 1 / Domingo, Polaski, Tomlinson; Barenboim
Richard Wagner , Daniel Barenboim , Plácido Domingo , Deborah Polaski , Staatskapelle Berlin , and John Tomlinson
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
General | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
German | Languages | Opera & Vocal | Styles | Music
Operettas | Opera & Vocal | Styles | Music
ASIN: B00000F1RL
Release Date: 1998-12-08

Tracks:

Die Walkure - Akt I: Vorspiel
Die Walkure - Akt I: Szene 1 - Wes Herd dies auch sei (Siegmund, Sieglinde)
Die Walkure - Akt I: Szene 1 - Kuhlende Labung gab mir der Quell (Siegmund, Sieglinde)
Die Walkure - Akt I: Szene 1 - Einen Unseligen labtest du (Siegmund, Sieglinde)
Die Walkure - Akt I: Szene 2 - Mud am Herd fand ich den Mann (Siglinde, Hunding, Siegmund)
Die Walkure - Akt I: Szene 2 - Friedmund darf ich nicht heissen (Siegmund, Hunging, Sieglinde)
Die Walkure - Akt I: Szene 2 - Aus dem Wald trieb es mich fort (Siegmund)
Die Walkure - Akt I: Szene 2 - Die so leidig Los dir beschied (Hunding, Sieglinde, Siegmund)
Die Walkure - Akt I: Szene 2 - Ich meiss ein wildes Geschlecht (Hunding)
Die Walkure - Akt I: Szene 3 - Ein Schwert verhiess mir der Vater (Siegmund)
Die Walkure - Akt I: Szene 3 - Schlafst du, Gast? (Sieglinde, Siegmund)
Die Walkure - Akt I: Szene 3 - Der Manner Sippe (Sieglinde, Siegmund)
Die Walkure - Akt I: Szene 3 - Wintersturme wichen dem Wonnemond (Siegmund)
Die Walkure - Akt I: Szene 3 - Du bist der Lenz (Sieglinde)
Die Walkure - Akt I: Szene 3 - O susseste Wonne! (Siegmund, Sieglinde)
Die Walkure - Akt I: Szene 3 - War Walse dein Vater (Sieglinde, Siegmund)
Die Walkure - Akt I: Szene 3 - Siegmund heiss' ich (Siegmund, Sieglinde)
Die Walkure - Akt I: Applaus

Amazon.com essential recording

The action of Wagner's Ring cycle begins, as singer-comedienne Anna Russell so wryly put it, in the Rhine River--"that's right, in it." But newcomers who'd like to venture beyond the standard dose of orchestral excerpts may well find that the opening act of Die Walküre (the second of the cycle's four operas) offers the most immediately appealing point of access into the world of the Ring. This is, after all, the point where the cycle's first merely human characters take the stage. The process whereby protagonists Siegmund and Sieglinde fall in love and temporarily escape their doom inspired some of the most rapturous, incandescent outpouring of music to be found in all Wagner. This live concert performance from 1993 conveys both the urgency and compassion of the score with unremitting immediacy. As with his Tristan and Lohengrin, Daniel Barenboim once again gives proof that he has matured into a formidable Wagnerian, from the taut tension of the stormy prelude and the quasi-chamber-music dimensions of the first scene to the brilliantly colored apexes of the love music. Placido Domingo is captured here in top form, portraying a convincingly youthful and passionate Siegmund. Although he throws away an occasional phrase, the stamina of his voice is downright thrilling, particularly in his desperate, sustained call to "Wälse." Domingo's multifaceted approach moreover conveys the hero's fear and vulnerability as well as the tenderly phrased lyrical warmth of "Winterstürme." Deborah Polaski matches her lover's large sound with heart-racing charisma; hers is less a beaten-down, introspective Sieglinde than a woman determined to escape an awful fate through the power of love. John Tomlinson's resounding bass etches an imposing and viscerally frightening Hunding. The engineering is excellent, with brooding, dark colors from the Staatskapelle's lower strings and woodwinds as well as brightly ringing brass. This may be all the inducement you need to discover the entire Ring; for that, you might like to turn to Georg Solti's classic recording. --Thomas May

Customer Reviews:

Promises kept.......2005-07-17

The only negative comment on this ravishingly beautiful recording is that it is not the complete 'Die Walküre': with an Act 1 of this caliber one longs for the entire opera as realized by conductor Daniel Barenboim at the helm in the Staatsoper in Berlin. The Staatkapelle plays well for him and the cast sings with gorgeous vibrancy and freshness and credible acting.

Recorded live in 1993 this served as an early sample of how Placido Domingo could and would make a fine Heldentenor. His Siegmund is young sounding, resonant, ringing, and melting in his intelligent use of his wondrous tenor voice. His Sieglinde is the superb American Wagnerian soprano Deborah Polaski at the peak of her powers and her voice is rich and comfortable throughout the range of this role. John Tomlinson sings Hunding well but one longs for a more malevolent sound.

This is the kind of recording to give to friends who need an introduction to the magical mysteries of Wagner's 'Ring': this act has more familiar and glorious melodies than practically any other of the Ring, and to the novice this is a short but exquisitely recorded aperitif. The news that Domingo's full recording of 'Tristan und Isolde' (with Nina Stimme as Isolde) is due out this fall is even more of a reason to buy this recording while you can. He has kept his promise that he would sing the big Wagnerian roles before retiring (he also sings 'Parsifal' in the next LA Opera Season!) Highly Recommended. Grady Harp, July 05

Probably as good as we'll get - get it for Barenboim.......2003-03-11

This recording is a good presentation of what Wagnerians can expect as the best these days: it contains some truly extraordinary jewels, but cannot compare to the "classics", as far as the singers are concerned.

Of course, Domingo himself is the big debate of the recording. He sings very well throughout (he never yells nor barks), and brings a lot of emotion and nobility to the part. In the first scene he is not beaten down nor suffering, but dignified in his resignation, and later becomes a warm Siegmund with a lot of heart, always at his best in the more lyrical moments (the Winterstürme in particular). However, he is not an example of earth-shattering heroism. Further, I have a hard time with his German diction. I can stand a singer with an accent, but the problem here is one of articulation: sometimes a whole sentence will literally *drop* out of his mouth as an undifferentiated string of sounds. Those of us who know the text (and care for it!) will be annoyed.

Polaski is not bad, but far from great. The problem is that, while she packs a good punch in the parts that require a projection of quasi-insanity, she just has no clue of how to sound romantic: you wouldn't know that she loved Siegmund unless you were told. Plus she can be quite shrill, and her voice is not very pleasing to my ears, in addition to having an annoyingly tight vibrato.

Tomlinson's voice is a bit light for the role, but it is also very beautiful. He expresses more anger and outrage than evil, and he is a bit lacking on the sinister side. Whether that is a good or a bad thing will depend on the listener's expectations.

The balance is more in favour of the orchestra, and here this is an excellent thing, since Barenboim and the musicians of the Staatskapelle are the true stars. They produce a truly wonderful sound, all sections being in perfect balance. The brass in particular enjoys an exceptional clarity, and does not overpower the rest of the orchestra as is too common.

Barenboim brings a lot of interesting details forward, making clear and distinct certain musical lines that are buried beyond recognition in other renditions.
The pacing is also close to perfection, bringing back memories of Walter and Furtwängler. The drama is not pushed forward, but left free to realise itself, effortlessly evolving out of its initial dramatic tension to its romantic and heroic resolution.

With better singers, this could definately have been a candidate for top recording of the Act.

Fascinating.......2002-02-17

This is really a fascinating recording: it's from 1993 and gives a hint of what in the meantime has become the "winter Bayreuth," ie Barenboim's Staatsoper in Berlin--by now (if not at the time of the recording) the best Wagner house in the world and one of the top five opera houses overall. This disc shows the Staatskapelle in its state as Barenboim found it after the wall fell--with an incredibly "Germanic" sound which has since been mellowed a bit. Domingo had just started singing Wagner, which leads to some amazing moments as well as some slightly awkward ones. Polaski, who has since matured into the leading Elektra and Bruennhilde of our time (those who prefer Eaglen or--God forbid--Schnaut for the latter really need to go to a performance with Polaski), is not quite as "girly" as most would expect in Sieglinde, but excellent all the same. I don't agree with the other reviewer about Tomlinson, although I do prefer his Gurnemanz (but who wouldn't?!). All in all this is a fascinating disc not only because of the electricity running throughout but because it shows those of us who only know the Berliner Staatsoper from its recent performances how it got to its place today.

A first-rate performance.......2000-05-30

Recently I heard the Metropolitan Opera radio broadcast of "Die Walkure," with the versatile Placido Domingo as Siegmund. If only I had a recording of this, I thought afterward. Well, I was able to find this CD, a live performance of Act 1 featuring Domingo -- which makes me happy enough, since Siegmund does most of his singing in the first act anyway. Everyone involved does an excellent job: The orchestra, conducted by Daniel Barenboim, Deborah Polaski as Sieglinde, and John Tomlinson as Hunding are all first-rate, and Domingo sounds like the best heldentenor around these days. The last part, from "Wintersturme" and "Du bist der Lenz" on, is especially thrilling.

Barenboim's "Walkure"-Almost Perfect.......2000-01-17

This CD, which features the orchestra of the Staatskapelle Berlin, would normally rate 5 stars but for a slight flaw. On the plus side we have the excellent conducting of Daniel Barenboim, the youthful Sieglinde of Deborah Polaski and the heroic,yet lyrical, Siegmund of Placido Domingo (whose "Wintersturme" is simply gorgeous). On the negative side we have John Tomlinson, which is too bad in as much as he would have made a superb Wotan. A pity that Wotan appears in the second and third acts whereas this CD is limited to Act One. Thus, Tomlinson's bass-baritone is miscast as Hunding--a role which demands a true bass voice, preferably of the so-called "black" variety.

All in all,though, this is a CD that all dedicated Wagnerians should include in their collection

Track Listings: