The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) [Box set]

Editorial Reviews
Amazon.com
With the release of this disc, Chandos completes its digital remastering of the complete English National Opera Ring cycle recorded live in the late 1970s--and a fantastic set it is, too. As in the other recordings (The Rhinegold, The Valkyrie, and Siegfried), Goodall shows himself to be a master Wagnerian of the first order with a sure grasp of the massive score, from its largest structures to its smallest details. His obvious passion for the music clearly inspires the ENO Orchestra to give of its best--the playing is extraordinarily powerful and perfectly attuned to the drama of each scene (Siegfried's Funeral Procession is spine-tingling). Rita Hunter has the necessary lung power to make Brunnhilde's lines soar over the orchestra, but Hunter characterizes her with subtlety, too. Even when she asks for the death of Siegfried (Alberto Remedios, bright and powerful), her voice is warm with love for him. Aage Haugland doesn't have a beautiful voice, but in many ways this helps make him an ideal Hagen, full of spite and cunning. The translation is a masterpiece in its own right, and the booklet (including libretto) is crammed with information. A must-have. --Warwick Thompson

From International Record Review - subscribe now
With the reissue of this set on CD, and in quite magnificent transfers, the most remarkable operatic recording enterprise ever to take place in England, or at any rate in English, reaches completion. This recording of the Ring's final drama was made on three evenings in August 1977, when Reginald Goodall conducted his last complete cycle. By then, his legendary broad tempos had grown to a quite extraordinary degree, in fact had reached the verge of hypertrophy. This performance clocks in at five... read more

The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) [Box set]

Tracks:

The Valkyries: Ride Of The Valkyries
Twilight Of The Gods: Siegfried's Funeral March
Lohengrin: Prelude to Act III
The Flying Dutchman: Overture
The Flying Dutchman: Sailors' Chorus
The Rheingold: Journey Down To Nibelheim
The Mastersingers Of Nuremberg: Overture
Tannhauser: Overture
Tannhauser: Entry Of The Guests
Tannhauser: Tannhauser's Pilgrimage
Siegfried: Act III Orchestral Interlude
Twilight Of The Gods: Siegfried's Rhine Journey
Twilight Of The Gods: Finale
The Rheingold: Entry Of The Gods Into Valhalla

Tracks:

Lohengrin: Prelude To Act I
Lohengrin: Bridal Chorus
Parsifal: Prelude to Act I
Parsifal: Good Friday Music
Parsifal: Transformation Scene
Tannhauser: Venusberg Music
Tannhauser: Pilgrims Chorus
The Mastersingers Of Nuremburg: Prelude To Act III
The Rheingold: Vision Of Valhalla (Scene II Introduction)
Siegfried Idyll
Siegfried: Brunnhildes Awakening
Tristan And Isolde: Prelude To Act III
Tristan And Isolde: Death Of Isolde

Amazon.com

If you like your Wagner served up in bleeding chunks or if you're simply in a hurry to hear the tunes, then this compilation is for you. The performances, drawn from the Polygram (mainly Deutsche Grammophon) back catalog, are for the most part authoritative. They feature the likes of Herbert von Karajan, with the Berlin Philharmonic, and Karl Böhm, with the Bayreuth Festival Orchestra (and chorus), in extracts from recordings of complete operas, and conductors Giuseppe Sinopoli, Otto Gerdes, and Antal Doráti in some of the more familiar overtures and preludes. Singing, without which it is impossible to get the full flavor of Wagner's work, is skirted whenever possible: this is an unapologetic tribute to Wagner the orchestral genius. At times the salesmanship is a little overblown--the glitzy packaging includes a cover shot of the helicopters from Apocalypse Now--and the sound, some of it from very good originals, seems to have been juiced with a little added digital reverb, resulting in an overall glassiness. The gaps between tracks are minimized, disco style, so there's no dead air, and the whole thing has an Entertainment Tonight feel to it. Were he around, Wagner would have screamed bloody murder, then happily taken his cut of the action. For today's on-the-go listener, this may well be the most practical way to enjoy Wagner's music, but we won't be happy until it motivates at least one newcomer to seek out a recording of a complete opera. Anyone who does that will find out what "apocalypse" really means. --Ted Libbey

Customer Reviews:

Wonderful collection and price!.......2007-05-11

I found this to be a nice collection of favorites, especially to keep in the car and listen to. It is a variety of well known compilations. Although not encompassing, it is perfect as a review for driving, relaxing, and enjoyment. Plus, the price is right!

Awesome collection!.......2007-01-10

This is a great collection of some of Wagner's most memorable songs for those of you who do not want to buy the whole opera's for some of his works.

Helicopters? Marines?.......2006-12-05

Do those infotainment marketing mavens ever get it right? Talk about Hollywood disconnect! Not only are the helicopters irrelevant, but to quote from the gushy drivel on the jacket, "The gripping power of Richard Wagner's music was demonstrated with spectacular effect in...Apocalpse Now, when the "Ride of the Valkyries' became synonymous with the chilling journey of Marine 'Huey' helicopters into battle..."

Marine? Marine? Them Hueys in the movie was ARMY Air Cav, slick! "First of the ninth--air mobile." If you're going to dally down that primrose path, at least get it right.

Better yet, drop the choppers. Most people who listen to Wagner probably realize that quality of an artistic work has a mystically inverse relationship to the number of helicopters contained in it.

As for the music, it is good, but the operatic equivalent of sound bites, which may be just right for people who are new to Wagner or just can't take very much of him. Hmm...perfect for a helicopter ride, perhaps?

A great addition to my music collection.......2006-07-20

This CD takes the place of all my other Wagner music. VERY well done. Somehow I didn't realize that there were two cds in the package--what a pleasant surprise! Of the two cds, I like the first one best, but they are both good. I listen to this cd daily on my way to work. Stirring! I am so glad that I purchased this. Some purists might have a problem with the fact that some of the selections are not there in their entirety. I have no problem with that though. I recommend this to anyone who loves Wagner.

Quintessential Wagner.......2006-05-15

Okay, so I like Wagner. I LOVE "Ride Of The Valkyries". Do I want to go out and buy every single stinkin thing Wagner did? No. If you are a die-hard Wagner fan you probably will not think much of this collection.

But if you like Wagner and appreciate "Ride Of The Valkyries", and maybe require it in just a little more substance than what is included in "Apocolypse Now Redux", then this is what you want. The extra tracks are bonuses and are quite good. Meets my needs, presentation great, performance excellent. I recommend it for anyone that needs a Wagner fix.

Passion - Most Famous Orchestral Spectaculars [20 CD Set]

Average customer rating:

A good gift for novice

Passion - Most Famous Orchestral Spectaculars [20 CD Set]

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Marches | Miscellaneous | Styles | Music

Box Sets at 30% Off | Blowout Music | Stores | Music

Classical | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

More Titles at Least 25% Off | Blowout Music | Stores | Music
Similar Items:

Rhapsody in Blue - Ultimate Piano Collection [20 CD Set]
Little Night Music - Ultimate Mozart Collection [20 CD Set]
Rendezvous of Angels - Concert Collection [20 CD Set]
Classical Masterpieces of the Millennium [20 CD Set]
Classical Evolution: Spanish Guitar Music

ASIN: B00012QLTQ
Release Date: 2003-12-09

Album Description

Music can be both calming and relaxing, or invigorating and passionate...this phenomenal 20-CD set is definitely the latter. This amazing collection brings together for the first time the most passionate music of all time, from Ravel's Bolero, Tchaikovsky's Swan Lake, Wagner's Magic Fire Music to Ravel's La Valse, Orff 's Carmina Burana and Stravinsky's Rite of Spring. This is a must have collection for every passionate music lover.

Customer Reviews:

A good gift for novice.......2007-05-12

This was a good gift for somebody learning about Classical music in Japan.

Average customer rating:

A well-kept secret
Essential Wagner
Excellent Wagner from a surprising source ... or maybe not!
Go For Boult
Memorable and dramatic- A must have for Wagner fans

Wagner: Overtures & Preludes

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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
Similar Items:

Wagner: Tristan und Isolde/Parsifal/Die Meistersinger Von Nürnberg/Lohengrin/Tannhäuser
The Best Of Wagner
Twilight of the Gods: The Essential Wagner Collection
Rimsky-Korsakov: Scheherazade; Capriccio Espagnol; Russian Easter Overture
Wagner: The "Ring" Without Words

ASIN: B000002S08
Release Date: 1992-09-29

Tracks:

Tannher: Overture
Tannher: Grand March
Der Fliegende Holler: Overture
Tristan und Isolde: Prelude to Act 1
Tristan und Isolde: Prelude to Act 3
Die Meistersinger von Nurnberg: Overture
Die Meistersinger von Nurnberg: Prelude to Act 3
Lohengrin: Prelude to Act 1

Tracks:

Lohengrin: Prelude to Act 3
Parsifal: Prelude to Act 1
Parsifal: Act 1 Transformation scene
Parsifal: Prelude to Act 3
Parsifal: Good Friday Music
Das Rheingold: Entrance of the Gods
Die Walkure: Ride of the Walkyries
Siegfried: Forest murmurs
Gotterdammerung: Siegfried's Rhine Journey
Gotterdammerung: Siegfried's Funeral March

Customer Reviews:

A well-kept secret.......2007-05-18

Everyone wants to have a crack at the "bleeding chunks" eventually, and while I love the flashier Stoky and Furtwangler approach, I wouldn't want to be without the Boult. He's a great Wagnerian, strange as it may seem. Who could blame him for not wanting to go down in history merely as the finest Holstian? As long as this stays in print, Ormandy will still be considered the least sexy conductor. (I heard CBS researchers found an Ormandy fan once!)

Essential Wagner.......2006-06-17

As a child, this set was my first experience of Wagner's music, and it made quite an impression on me. However, as I grew older and began to collect the full operas I felt I could surely do better than Adrian Boult and the British for a collection of the preludes, overtures, and orchestral music from the operas. I was wrong. I have yet to here any recordings that can match the power and intensity as demonstrated in these discs from Boult and the LSO (and LPO). The Meistersinger prelude alone is worth the price, and the only version of the prelude to Tristan which outdoes the one here is Bohm's live 1966 Tristan. The Solti, Karajan, and Klemperer highlight discs have their moments (and truthfully, I do prefer Solti and Karajan for the "Ring" highlights), but their contributions are greatest in the full operas, and overall, they simply can't muster the power and intensity that Boult brings to these preludes, overtures, etc.

Even if you have other compilations of Wagner's music in "bleeding chunks", I can assure you they don't come close to this one; and with two discs (the second containing mostly music from Parsifal and the "Ring") at 14 bucks, there is absolutely no excuse not to have this essential recording. So go ahead and buy this disc, never buy another Wagner compilation again, and with the money you save get started on the more important task at hand: the full operas.

Excellent Wagner from a surprising source ... or maybe not!.......2004-09-27

Does Sir Adrian Boult conjure up of images of Gustav Holst and Ralph Vaughn Williams, but not Wagner? You're not alone! Nevertheless, this is a double CD set not to be missed! Many years ago, I was listening to a classical radio music station in NYC that was playing the music of Wagner. The performance was so good, that I wouldn't leave the radio until I found out the name of the conductor. When the announcer said the conductor was Sir Adrian Boult, I was quite surprised. I had recordings of English music from Sir Adrian on Angel/EMI, but I never associated that conductor with Wagner. Having been blessed with a friend who had knowledge of classical music way beyond his years, I gave him a call to find out more about the recording. He told me that, Boult had solid expertise in the area of Germanic music, but, in England, had been overshadowed in that repertoire by Otto Klemperer. He told me not to be surprised about Boult's very fine Wagner, it was an excellent recording to purchase and, indeed, search out Sir Adrian's wonderful performance of Beethoven's Fifth Symphony (now available on Vanguard). Fast-forward many years and I find myself browsing through Amazon for a recording of Wagner's Overtures and Preludes. Like everyone else I know, I foolishly jettisoned my LPs in the 1990s and have been "back-filling" ever since. Well, I was able to obtain this splendid set for less than $7 per CD! There are a total of 18 selections covering most of Wagner's operas including five excerpts from the Ring Cycle. The performances are excellent coming from no less than three British orchestras, and the sound is top-shelf EMI. Sir Adrian's pacing is measured and his vision is broad and sensitive, highlighting the beauty and grandeur --rather than just the fire-- of this glorious music. I heartily recommend this two-CD set, and at this price, I think it's a steal.

Go For Boult.......2003-07-08

Sir Adrian Boult is best known for his recordings of the British repertoire, and his performances, particularly of Holst's "The Planets" and Elgar's Symphonies and Orchestral Works, are legendary. But Boult was also an excellent conductor of Beethoven, Brahms and Wagner, and this 2-CD set collects the Overtures and Preludes of the latter German titan. These stereo recordings from the early to mid-1970s with the New Philharmonia Orchestra, and London Philharmonic and Symphony Orchestras are truly first rate. EMI's set compares nicely in terms of price, quality and musical offerings with competing sets by DG (Bohm, Kubelik, et al) and Sony (Ormandy & Szell). You might have reservations about getting German music conducted by a Brit, but you really can't go wrong with Boult.

Memorable and dramatic- A must have for Wagner fans.......2000-03-20

I bought this cd for the following reasons: 1 I'm a Wagner fan, 2 the cover looks exquisite and 3 I wanted to hear a "prelude" since it sounds fancy and never heard one. The result is great cd. The Tannhauser overture, Tristan and Isolde prelude and Lohengrin Prelude to act 3 are all very excellent. Excerpts from the Ring of the Nibelunge aren't as good as I had anticipated but are still enjoyable. The music speaks the tales of Wagner's operas. Just hear it, as slow and irksome as they maybe, these preludes make you feel the tragic love of Tristan and Isolde, the epic odyssey of Lohengrin and the holy, heavenly spirit in Parsifal as he discovers the Holy Grail. Buy this CD and you won't regret it. Except that one bit from Gotterdammerung, Siegfried's Funeral March. It does'nt quite have the feel of grand disaster as it did in John Boorman's film Excalibur. If you're hoping to find that version(which is better) stick with the Classics Go To The Movies Vol 2 cd. But all the other pieces on this CD are excellent. Go and buy this CD- now !

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

Average customer rating:

"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

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

Sopranos | Voices | Opera & Vocal | Styles | Music

Opera & Vocal | Box Sets | Stores | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

An Introduction to Der Ring des Nibelungen
Wagner's Ring: Turning the Sky Round
Wagner: Lohengrin
Tristan Und Isolde
Wagner: Tristan und Isolde

ASIN: B0000042H4
Release Date: 1997-10-14

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

Gotterdammerung: Dritter Aufzug: Vorspiel
Gotterdammerung: Dritter Aufzug, Erste Szene: Frau Sonne sendet lichte Strahlen
Gotterdammerung: Dritter Aufzug, Erste Szene: Ein Albe fuhrte mich irr
Gotterdammerung: Dritter Aufzug, Erste Szene: Was leid' ich doch das karge Lob?
Gotterdammerung: Dritter Aufzug, Erste Szene: Siegfried! Siegfried! Siegfried!
Gotterdammerung: Dritter Aufzug, Zweite Szene: Hoiho!
Gotterdammerung: Dritter Aufzug, Zweite Szene: Trink, Guenther, trink!
Gotterdammerung: Dritter Aufzug, Zweite Szene: Mime hiess ein murrischer Zwerg
Gotterdammerung: Dritter Aufzug, Zweite Szene: In Leid zu dem Wipfel lauscht' ich hinauf
Gotterdammerung: Dritter Aufzug, Zweite Szene: Brunnhilde, heilige Braut!
Gotterdammerung: Dritter Aufzug, Zweite Szene: Trauermusik beim Tode Siegfrieds
Gotterdammerung: Dritter Aufzug, Dritte Szene: War das sein Horn?
Gotterdammerung: Dritter Aufzug, Dritte Szene: Hoiho! Hoiho!
Gotterdammerung: Dritter Aufzug, Dritte Szene: Nicht klage wider mich!
Gotterdammerung: Dritter Aufzug, Dritte Szene: Schweigt eures Jammers
Gotterdammerung: Dritter Aufzug, Dritte Szene: Starke Scheite schichtet mir dort
Gotterdammerung: Dritter Aufzug, Dritte Szene: Mein Erbe nun nehm' ich zu eigen
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:

"Leb wohl, Siegmund, seligster Held!".......2007-05-15

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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!!!

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.

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.

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

Average customer rating:

A disappointment
"The Ring without Words" is really "The Ring without Pauses . . . "
The best synthesis of orchestral music from the Ring
Could have been a fun ride, but...
Decent, though not ideal; fulfills the original intent

Wagner: The "Ring" Without Words

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Symphonies | 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

Wagner without Words
Twilight of the Gods: The Essential Wagner Collection
Wagner: Overture & Preludes
Verdi without Words: Grand Opera for Orchestra
The Best Of Wagner

ASIN: B000003CUJ
Release Date: 1990-10-25

Tracks:

Thus, We Begin In The 'Greenish Twilight' Of The Rhine
Float Up To The Home Of The Gods (Entrance Of The Gods Into Valhalla)
Fall Amongst Hammering Dwarfs 'Smithying' Away
Ride Donner's Thunderbolt, Crawl With The Thirst-Crazed Siegmund To The Haven...
In The Sound Code, We 'See' His Loving Gaze
Their Flight
Wotan's Rage
The Cavalcade Of Brde's Sisters, (Ride Of The Valkyries)
Wotan's Farewell To His Favorite Daughter, (Wotan's Farewell And Magic Fire Music)
Mime's Fright
Siegfried's Forging Of The Magic Sword
His Wanderings Through The Forest, (Forest Murmurs)
His Slaying Of The Dragon
The Dragon's Lament
Day Breaking 'Round Sigfried's And Brde's Passion
Siegfried's Rhine Journey, (Dawn And Sigfried's Rhine Journey)
Hagen's Call To His Clan
Siegfried And The Rhinemaidens
His Death And The Funeral Music, (Siegfried's Death And Funeral Music)
Immolation. (Immolation Scene)

Customer Reviews:

A disappointment.......2007-04-20

Being a Wagnerite is sometimes a little difficult. Wagner's music is demanding on practically all levels, and especially demanding to the casual listener. The music can sometimes be too sugary, way overblown, or deceptively muted. This can definitely present problems, and that is why there are those who can detest Wagner's works to the degree that others love it. There is little middle room: Love or hate, Wagner's music is unique...and difficult.

This CD brings out another difficulty: The attempt to tone down Wagner and make his work more generally acceptable. On the good side, this CD is a rather good compilation of some of the Ring's most important melodies. Its symphonic structure allows good flow between the rather disjoint work, and the idea works to a significant degree.

But Maazel's approach is to create a uniformity of interpretation on a work that took more than 20 years to complete. This uniformity saps the Ring of much of its musical strength. The standard pieces are played almost the same as the other selections; little differentiation is evident and as a result only minor aspects of the drama in this incredible music drama are revealed.

While it is possible to play Wagner's music poorly, I always thought it was equally possible to at least grasp its passion. Unfortunately, Maazel's approach proves me to be wrong.

Yes, being a Wagnerite can be very difficult.

"The Ring without Words" is really "The Ring without Pauses . . . ".......2006-07-25

Even Wagner had the good sense to construct his monumental "Ring" Cycle as four distinct operas! So when Loren Maazel got the idea to record a "Ring without Words," what was so important about making it one long movement? No one knew better than Wagner the emotional impact of a well-placed fermata or a crash-bang finale, but this spark of genius seems to have eluded Maazel in his obsession to keep the musical Rhine flowing from beginning to end non-stop for 67 minutes. What seems at first to be a really novel idea starts to break down early on when we begin to anticipate the throbbing final pages of "Das Rheingold," only to discover that for the sake of seamlessness, the whole dramatic passage is skipped over by an awkward leap from Donner's thunder into the depths of "Die Walkure!" Other cuts can be forgiven considering time limitations, although there is still room for ten more minutes of music on the CD. Edo de Vaart gives us something more on his "Ring" recording, since he has no fear of finales. Otherwise, Maazel's handing of the score is quite exciting, and the Vienna Philharmonic is totally responsive to his every gesture. Here's a good idea for some future recording, one I'd certainly buy and which would appeal to thousands of other "Wagnerites" like myself: why not a four-movement "Ring Without Words" across two CDs, with every possible voiceless note from the pen of the Master, one opera after the other?

The best synthesis of orchestral music from the Ring.......2006-07-12

If you're looking for a single CD of orchestral music from Wagner's Ring, I'd like to recommend this one. Here's why.

Wagner's tetralogy Der Ring des Nibelungen contains some of the most magnificent, most stirring, most imaginative music ever written (along with some that's pedestrian and dull; there are glorious moments, splendid peaks, and there are arid stretches, longeurs that make one wish that Wagner the supreme egotist had submitted his work to the judgment of a good editor). The four operas comprising it are Das Rheingold (1869), Die Walkure (1870), Siegfried (1876), and Gotterdammerung (1876). Taken together they form the towering masterwork and crowning achievement of Wagner's maturity. They are also immensely long: about 17 hours.

The problem has always been to extract the best parts of the Ring for satisfactory concert presentation. The Ring does not make this easy: it contains no conventional overtures or preludes, no conveniently extractable bits. Thus various hands ever since Wagner's day have carved out "bleeding chunks," with mixed results, and the practice has always been controversial.

This CD presents a different approach. In order to make this recording---to quote the Wagner expert in Third Ear: Classical Music: The Listener's Companion (ed. Alexander J. Morin, 2002; an excellent book, by the way)---"Maazel decided to create his own vast symphonic suite from the Ring, and he has toured with it around the world. . . . If you want to hear the best parts of the Ring without sitting down to 17 hours or so, this is your best bet." I agree. Maazel's 70-minute symphonic synthesis of the best music from the Ring has a consistency, an integration and seamless flow, an organic rightness lacking in other Ring orchestral-highlights programs, with their "bleeding chunks" approach. Also, Maazel's suite gives a better idea of the scope and variety of the Ring, of its full range of colors and sonorities, than the standard orchestral excerpts.

Let Maazel describe his priorities in putting his suite together: "I was intrigued by the challenge: could a symphonic synthesis of the Ring reveal the essentials? I bolted the following list of criteria to my drawingboard: One: the synthesis must be free-flowing and chronological, beginning with the first note of Rheingold and finishing with the last chord of Gotterdammerung. Two: the transitions must be harmonically and periodically justifiable, the pacing contrasts commensurate with the length of the work. Three: most all of the music originally written for orchestra without voice must be used, adding those sections with a vocal line essential to a synthesis . . . . Four: every note must be Wagner's own. . . . Though no conscious attempt was made to include all the Ring's motifs, most of them do surface in one form or another."

The result as represented on this CD is eminently satisfactory. Maazel is a seasoned Wagner conductor, and has conducted the complete Ring at Bayreuth and elsewhere. The Berlin Philharmonic is one of the world's great orchestras. Both it and Maazel are in top form here: the performance is idiomatic and assured, sweeping and eloquent, played to the hilt, bristling with authority and conviction. I hope I'm not being fanciful in finding that listening to the whole suite straight through yields a kind of catharsis. The sound is robust, full-bodied, with wide dynamic range, with solid weight and impact. Telarc's engineers have done a commendable job of coping with the problematic acoustics of Berlin's Philharmonie; this is probably just about the best sound that can be extracted from that vexed venue.

The recording was made in Dec. 1987. Total playing time is 69:40 (broken out as follows: Das Rheingold 14:47, Die Walkure 12:42, Siegfried 6:15, and Gotterdammerung 36:33; if this seems to give short shrift to Siegfried, it has always been musically the weakest of the four operas).

In short, it's hard to imagine a better orchestral introduction to the glories of the Ring. The virtues of this CD move it to the top of its class: highly recommended.

Could have been a fun ride, but..........2005-10-01

Decades ago, Leopold Stokowski popularized opera for the general public through "symphonic syntheses." These included Wagner's Ring, Triastan, and Boris Godunov, to mention those I've heard and enjoyed. I was prepared to enjoy Maazel's modern update and expected a fun ride through the gorgeous sonorities of Wagner's score.

Not much enjoyment resulted, however. Maazel is superficial, often ponderous, and much too roughshod with this pastische. It can't all be crash and bang. So I threw the CD away and hope a few others won't make the mistake I did.

Decent, though not ideal; fulfills the original intent.......2005-04-27

In having read the other reviews of this CD, I think many individuals failed to take note of the original intent behind this CD coming about in the first place. Lorin Maazel was commissioned by the recording company (Telarc) to come up with an arrangement of the prime orchestral excerpts of the "Ring," and his 4-step approach listed in the booklet, makes it abundantly clear that NOT ALL of the music commonly heard on other recordings of the orchestral music from the "Ring," would be heard in this arrangement. Also, it is to be inferred that Maazel knows, and obviously doesn't expect his arrangement to take the place of ANY complete recording of the "Ring."

I heard Maazel conduct his arrangement live with the National Symphony Orchestra of Washington, DC last year. Before that concert, I had never listened to this recording, but I knew about it. So I had the advantage of going into the concert with a fresh mind.

I came out of the concert with the feeling that others before me expressed -- that some of the transitions between familiar excerpts were smooth, some so-so, and others rather clunky. I think Maazel would be the first to admit that he was more successful in some areas of his arrangement, and not as successful in others. So be it. Wagner is tough for anyone and everyone delving into the complete operas, whatever their command of German and musical/orchestral principles.

So, my rating and review of this recording is confined to Maazel's task at hand. I give his effort four stars. Most of this "grade" is confined to the arrangement itself. I give the orchestral playing five stars.

Average customer rating:

An excellent classical CD
A hidden diamond
Wagner's Grandeur
Ormandy is underrated!
Excellent Recordings

The Best Of Wagner

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Twilight of the Gods: The Essential Wagner Collection
Wagner: Overture & Preludes
Wagner: Overtures & Preludes
Wagner without Words
Wagner: Tristan und Isolde/Parsifal/Die Meistersinger Von Nürnberg/Lohengrin/Tannhäuser

ASIN: B000003F4J
Release Date: 1991-06-06

Tracks:

Die Meistersinger: Prelude
Die Walkure: Ride Of The Valkyries
Lohengrin: Bridal Chorus
Siegfried: Forest Murmurs
Gotterdammerung: Dawn & Siegfried's Rhine Journey
Die Walkure: Magic Fire Music
Tristan und Isolde: Liebestod

Customer Reviews:

An excellent classical CD.......2007-01-28

Richard Wagner rightly deserves his high reputation as a classical musician. Like many people, I don't care for Wagner's racial or religious views, but don't let that stop you from enjoying his music. The CD starts off with my favorites the Prelude from Die Meistersinger & Ride of the Valkyries from Die Walkure, followed by a fascinating rendition of the Bridal Chorus (a.k.a. "Here Comes the Bride") from Lohengrin. I won't recite the rest of the list, but there are 4 other compositions, all somewhat varied in style, but very good. Whether you are classical music buff or simply want an introduction to classical music this CD is a good place to start.

A hidden diamond.......2001-10-03

This unassuming budget classic reissue is among the finest of its genre: The Wagner orchestral highlight album, and features the contents of 1973 LP recital the farthest thing from run-of-the-mill, spaciously recorded with the palpable feeling of the presence of the musicians, not merely an amorphously gorgeous orchestral sonority. The music unfolds without self-indulgent pointing, in a free-wheeling manner that is simply right.

The original Ormandy program is supplemented with a track by Robert Shaw doing a luscious rendering of the famous Bridal Chorus from with his divine women's chorus, a version as good or better than any ever anthologized or appearing in complete opera recordings, its 1959 atmospherically recorded sound barely showing its age.

My only caveat is that this stuff really merited more respectful packaging than this ersatz "Best of" series, but at the price, who should complain?

Wagner's Grandeur.......2001-08-24

Wagner was a great composer. His music and use of orchestra are grand and masterful. I am repulsed by his political views, but as an artist he was a genius. This compilation of Wagner is probably the best there is. I listen to it from time to time. The breadth of the orchestral palette, the elevation, and grandeur have been imitated but never duplicated.

Ormandy is underrated!.......2001-02-08

I did a test by listening to Szell, Klemperer, Karajan, Kubelik, Bohm, Jochum, Gerdes, Ozawa, Stokowski, and Ormandy play Wagner overtures and excerpts from "The Ring". My verdict: it's Ormandy. What can I say? I feel as is he's underrated, especially in the annals of Wagner worship. I like Stokowski's energy, but he plays around with scores (horrors!) too much. The Szell was great, but a tad limp. Other conductors have their high points, but Ormandy ranks consistently at the top. His conducting is full and rich and the orchestra always sounds great. I ranked the Szell orchestral music from Wagner at 5 stars, so Ormandy rates 6 stars.

Excellent Recordings.......2000-11-08

The selections performed by the Philadelphia Orchestra under Ormandy are excellent. One of the best. Highly Recommended.

Average customer rating:

Great Cover
Szell's Magical And Terrific Wagner Album
Fabulous Wagner!
Szell has not fallen!
Precise, clinical performances in dated sound

Wagner without Words

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | 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

$6.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Wagner: The "Ring" Without Words
Twilight of the Gods: The Essential Wagner Collection
Rossini: Overtures
Verdi without Words: Grand Opera for Orchestra
Chopin: Twenty Four Préludes Op.28

ASIN: B000002763
Release Date: 1991-07-01

Tracks:

Das Rheingold: Entrance Of The Gods Into Valhalla
Die Walkure: Ride Of The Valkyries
Die Walkure: Magic Fire Music
Siegfried: Forest Murmurs
Gotterdammerung: Dawn - Seigfried's Rhine Journey
Gotterdammerung: Siegfried's Funeral Music - Final Scene
Tristan And Isolde: Prelude - Love-Death
Die Meistersinger: Prelude To Act I

Customer Reviews:

Great Cover.......2007-06-06

This same album has had at least 2 identical incarnations except for the cover art. So if you have bought some of his Wagner orchestral suites before, beware and be aware! You just may be making a redundant purchase. This version has by far the best cover artwork.

I have several of Wagner's Orchestral suites lps (Szell, Stokowski, Klemperer, Ormandy, Karajan) They all sound just peachy, so do not ask me to choose based on the music. I like the Stokowski best merely because it is on the great sounding Phase 4 label plus it has art work similar to this Szell cd and it has substantial liner notes. But as far as the music goes, a pair of Klemperers/Szells will just about beat any hand.

If you are new to Wagner, this is a wonderful intro. Then you can rent some of his music drama operas thru Netflix and take advantage of the best thing since sliced bread, English subtitles.

If you are looking for the Wagner symphony section at Amazon, there aint any! These orchestral suites are as close as you will get. Look instead to his disciples, Bruckner for symphonies and Richard Strauss for symphonic poems.

Szell's Magical And Terrific Wagner Album.......2007-05-21

This was Cleveland's most prominent condutor, the late George Szell's only Wagner album. True, he was at home conducting the music of Beethoven, Brahms, Mozart, Dvorak and all the brand-name, top classical music, but he was, at the same time, a gifted interpreter of Wagner. While Szell's name is not mentioned in the same sentence as Herbert Von Karajan nor was he a conductor of opera, this album showcases the skill and artistry he achieved while conducting the score to Wagner's most important operas - The Ring of the Nibelungen and Tristan and Isolde. The Cleveland Orchestra is at the height of its powers and the music you will hear on this album overflows with passion, dignity, grandeur and beauty, all the elements that Wagner's larger-than-life operas are made of. The first track is the Entrance Of The Gods Into Valhalla, the final scene in Das Rhinegold, the first of the four Ring operas. Pity this album does not begin with the beautifully mysterious and spiritual Rhinegold Overture, which would have been more appropriate, as the music segues into the Entrance of the Gods. But even as it is, it's wonderful. The music describes the vainglorious Odin, his wife Freya and the other Norse gods ascending into the glittering golden palace of Valhalla, pride and downfall of the gods. The music is bombastic and grand, just like one hears it at the opera, a melage of trumpets and brass. But the music is also composed of melancholy strings (violins) describing the lament of the Rhinemaidens, bemoaning the loss of the Ring and foreshadowing the coming tragedy. Track 2: Ride Of The Valkyries: This famous war march has been heard in films (such as Apocalypse Now) and occurs toward the end of "Die Walkure". It's a militaristic, noisy, ebullient battle cry. In the opera, Brunhilde, Odin's immortal daughter, has rebelled against him and takes to the air on winged horses with her fellow Valkyries. This interpretation is quite different than others you'll hear because Szell discovered an additional bit of music that Wagner intended to be played but for the most part is not heard. If you're quick, you'll catch it. It's a repetition of the battle cry "Hojo-to-ho" on the trumpet, occuring toward the last portion of the piece. 3: Magic Fire Music: This "magical" music, mostly for strings, serves as the score to the final scene in "Die Walkure" in which Odin has cast a sleeping spell on Brunhilde and puts her in the middle of a ring of fire, where she will await the kiss of the hero Siegfried. The tristesse of the piece represents a father's grief for the loss of his most belove daughter. Track 4 and 5 Forest Murmurs and Siegfried's Journey: This music is taken from various moments in the opera "Siegfried" which relates the hero's adventures. He awakens the sleeping Brunhilde who has become mortal, slays the fearsome dragon Fafnir and wields as magical sword. The Forest Murmurs takes place in the immense forest where Brunhilde lies sleeping. Endowed with the gift of communicatin with nature, a bird tells Siegfri