Wagner Der Ring des Nibelungen
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Wagner
Genre:
Opera
Label: Decca
Magazine Review Date: 3/1989
Media Format: CD or Download
Media Runtime: 877
Mastering:
ADD
Catalogue Number: 414 100-2DM15
Tracks:
| Composition | Artist Credit |
|---|---|
| (Der) Ring des Nibelungen: Part 1, '(Das) Rheingold' |
Richard Wagner, Composer
Anita Välkki, Third Norn, Soprano Berit Lindholm, Helmwige, Soprano Birgit Nilsson, Brünnhilde, Soprano Birgit Nilsson, Brünnhilde, Soprano Birgit Nilsson, Brünnhilde, Soprano Birgit Nilsson, Brünnhilde, Soprano Birgit Nilsson, Brünnhilde, Soprano Birgit Nilsson, Brünnhilde, Soprano Brigitte Fassbaender, Waltraute, Mezzo soprano Christa Ludwig, Waltraute, Mezzo soprano Christa Ludwig, Fricka, Soprano Christa Ludwig, Fricka, Mezzo soprano Christa Ludwig, Waltraute, Soprano Claire Watson, Freia, Soprano Claire Watson, Gutrune, Soprano Claire Watson, Freia, Soprano Claire Watson, Gutrune, Soprano Claudia Hellmann, Rossweiße, Mezzo soprano Dietrich Fischer-Dieskau, Gunther, Baritone Eberhard Waechter, Donner, Tenor Georg Solti, Conductor George London, Wotan, Baritone Gerhard Stolze, Mime, Tenor Gottlob Frick, Hagen, Bass Gottlob Frick, Hunding, Bass Gottlob Frick, Hunding, Bass Gottlob Frick, Hagen, Bass Grace Hoffman, Second Norn, Mezzo soprano Gustav Neidlinger, Alberich, Bass Gustav Neidlinger, Alberich, Bass Gustav Neidlinger, Alberich, Bass Gustav Neidlinger, Alberich, Bass Gustav Neidlinger, Alberich, Bass Gustav Neidlinger, Alberich, Bass Gwyneth Jones, Wellgunde, Soprano Hans Hotter, Wanderer, Alto Hans Hotter, Wanderer, Alto Hans Hotter, Wotan, Alto Hans Hotter, Wotan, Alto Helen Watts, First Norn, Contralto (Female alto) Helen Watts, Schwertleite, Mezzo soprano Helen Watts, Schwertleite, Contralto (Female alto) Helen Watts, First Norn, Mezzo soprano Helga Dernesch, Ortlinde, Soprano Hetty Plümacher, Wellgunde, Soprano Ira Malaniuk, Flosshilde, Mezzo soprano James King, Siegmund, Tenor Jean Madeira, Erda, Contralto (Female alto) Joan Sutherland, Woodbird, Soprano Kirsten Flagstad, Fricka, Mezzo soprano Kurt Böhme, Fafner, Baritone Kurt Böhme, Fafner, Bass Kurt Böhme, Fafner, Bass Kurt Böhme, Fafner, Baritone Lucia Popp, Woglinde, Soprano Marga Höffgen, Erda, Contralto (Female alto) Marilyn Tyler, Grimgerde, Mezzo soprano Maureen Guy, Flosshilde, Mezzo soprano Oda Balsborg, Woglinde, Soprano Paul Kuen, Mime, Tenor Régine Crespin, Sieglinde, Soprano Richard Wagner, Composer Set Svanholm, Loge, Tenor Vera Little, Siegrune, Mezzo soprano Vera Schlosser, Gerhilde, Soprano Vienna Philharmonic Orchestra Waldemar Kmentt, Froh, Tenor Walter Kreppel, Fasolt, Baritone Wolfgang Windgassen, Siegfried, Tenor Wolfgang Windgassen, Siegfried, Tenor Wolfgang Windgassen, Siegfried, Tenor Wolfgang Windgassen, Siegfried, Tenor |
| (Der) Ring des Nibelungen: Part 2, '(Die) Walküre' |
Richard Wagner, Composer
Aron Bokatti, Michele Athos Cesarini, Sergio, Tenor Georg Solti, Conductor Kiri Te Kanawa, Dimitri, Mezzo soprano Leonardo Monreale, Lorek, Baritone Leonardo Monreale, Lorek, Baritone Leonardo Monreale, Nicola, Baritone Leonardo Monreale, Nicola, Baritone Leonardo Monreale, Nicola, Bass Leonardo Monreale, Nicola, Baritone Leonardo Monreale, Nicola, Baritone Leonardo Monreale, Lorek, Bass Leonardo Monreale, Lorek, Bass Leonardo Monreale, Nicola, Baritone Leonardo Monreale, Nicola, Bass Leonardo Monreale, Lorek, Baritone Leonardo Monreale, Lorek, Bass Leonardo Monreale, Nicola, Baritone Leonardo Monreale, Lorek, Baritone Leonardo Monreale, Lorek, Baritone Leonardo Monreale, Lorek, Baritone Leonardo Monreale, Nicola, Bass Lucia Cappellino, Olga, Soprano Magda Olivero, Fedora, Soprano Mario Del Monaco, Loris, Tenor Paul Rogers, Boleslao Lazinski, Tenor Peter Binder, Cirillo, Baritone Piero de Palma, Baron Rouvel, Tenor Riccardo Cassinelli, Désiré, Tenor Richard Wagner, Composer Sergio Caspari, Un piccolo Savoiardo Silvio Maionica, Grech, Bass Tito Gobbi, De Siriex, Baritone Vienna Philharmonic Orchestra Virgilio Carbonari, Boroff, Bass |
| (Der) Ring des Nibelungen: Part 3, 'Siegfried' |
Richard Wagner, Composer
Ann Monoyios, Belinda, Soprano Clive Revill, Ko-Ko, Baritone Denis Dowling, Pooh-Bah, Baritone Dorothy Nash, Peep-Bo Georg Solti, Conductor Jean Allister, Katisha, Contralto (Female alto) Jennifer Lane, Dido/Sorceress, Mezzo soprano John Heddle Nash, Pish-Tush, Tenor John Holmes, The Mikado, Bass John Wakefield, Nanki-Poo, Tenor Marion Studholme, Yum-Yum, Soprano Patricia Kern, Pitti-Sing, Mezzo soprano Richard Wagner, Composer Russell Braun, Aeneas, Baritone Vienna Philharmonic Orchestra |
| (Der) Ring des Nibelungen: Part 4, 'Götterdämmerung' |
Richard Wagner, Composer
Astrid Varnay, Brünnhilde, Soprano Astrid Varnay, Brünnhilde, Soprano Astrid Varnay, Brünnhilde, Soprano Astrid Varnay, Brünnhilde, Soprano Astrid Varnay, Brünnhilde, Soprano Astrid Varnay, Brünnhilde, Soprano Astrid Varnay, Brünnhilde, Soprano Astrid Varnay, Brünnhilde, Soprano Astrid Varnay, Brünnhilde, Soprano Bruni Falcon, Ortlinde, Soprano Bruni Falcon, Ortlinde, Soprano Bruni Falcon, Ortlinde, Soprano Brünnhilde Friedland, Gerhilde, Soprano Christian Vogel, Mime, Tenor Erika Schubert, Rossweiße, Mezzo soprano Erika Zimmermann, Woglinde, Soprano Erika Zimmermann, Woglinde, Soprano Erika Zimmermann, Woglinde, Soprano Georg Solti, Conductor Gerhard Stolze, Froh, Tenor Gisela Litz, Siegrune, Soprano Gisela Litz, Flosshilde, Soprano Gisela Litz, Siegrune, Mezzo soprano Gisela Litz, Flosshilde, Mezzo soprano Gisela Litz, Flosshilde, Soprano Gisela Litz, Siegrune, Soprano Gustav Neidlinger, Alberich, Bass Gustav Neidlinger, Alberich, Bass Gustav Neidlinger, Alberich, Bass Gustav Neidlinger, Alberich, Bass Gustav Neidlinger, Alberich, Bass Gustav Neidlinger, Alberich, Bass Hans Hotter, Wotan, Alto Hans Hotter, Wotan, Alto Hans Hotter, Wanderer, Alto Hans Hotter, Wotan, Alto Hans Hotter, Wanderer, Alto Hans Hotter, Wanderer, Alto Hermann Uhde, Donner, Tenor Hermann Uhde, Donner, Tenor Hermann Uhde, Gunther, Tenor Hermann Uhde, Gunther, Tenor Hermann Uhde, Gunther, Tenor Hermann Uhde, Donner, Tenor Hetty Plümacher, Wellgunde, Soprano Hetty Plümacher, Wellgunde, Soprano Hetty Plümacher, Wellgunde, Soprano Ira Malaniuk, Fricka, Soprano Ira Malaniuk, Fricka, Soprano Ira Malaniuk, Second Norn, Soprano Ira Malaniuk, Second Norn, Soprano Ira Malaniuk, Fricka, Mezzo soprano Ira Malaniuk, Second Norn, Mezzo soprano Josef Greindl, Hunding, Bass Josef Greindl, Hunding, Bass Josef Greindl, Fafner, Bass Josef Greindl, Fafner, Bass Josef Greindl, Fafner, Bass Josef Greindl, Fafner, Bass Josef Greindl, Hagen, Bass Josef Greindl, Hagen, Bass Josef Greindl, Hunding, Bass Josef Greindl, Fafner, Bass Josef Greindl, Hagen, Bass Josef Greindl, Fafner, Bass Kati Bergman, Mother Lieselotte Thomamüller, Helmwige, Soprano Lise Sorrell, Waltraute, Mezzo soprano Ludwig Weber, Fasolt, Baritone Maria von Ilosvay, First Norn, Contralto (Female alto) Maria von Ilosvay, Schwertleite, Mezzo soprano Maria von Ilosvay, First Norn, Mezzo soprano Maria von Ilosvay, Erda, Mezzo soprano Maria von Ilosvay, Schwertleite, Mezzo soprano Maria von Ilosvay, Erda, Mezzo soprano Maria von Ilosvay, Erda, Mezzo soprano Maria von Ilosvay, Erda, Contralto (Female alto) Maria von Ilosvay, Erda, Contralto (Female alto) Maria von Ilosvay, Schwertleite, Contralto (Female alto) Maria von Ilosvay, Erda, Mezzo soprano Maria von Ilosvay, First Norn, Mezzo soprano Marita Napier, Freia, Soprano Natalie Hinsch-Gröndahl, Gutrune, Soprano Paul Kuen, Mime, Tenor Paul Kuen, Mime, Tenor Paul Kuen, Mime, Tenor Peter Schreier, Loge, Tenor Peter Schreier, Loge, Tenor Peter Schreier, Loge, Tenor Ramon Vinay, Siegmund, Tenor Regina Resnik, Sieglinde, Soprano Regina Resnik, Sieglinde, Soprano Regina Resnik, Sieglinde, Soprano Richard Wagner, Composer Rita Streich, Woodbird, Soprano Ruth Falcon, Third Norn, Soprano Ruth Falcon, Third Norn, Soprano Ruth Falcon, Third Norn, Soprano Sibylla Plate, Grimgerde, Mezzo soprano Siegmund Nimsgern, Alberich, Baritone Siegmund Nimsgern, Alberich, Baritone Siegmund Nimsgern, Alberich, Baritone Sini Rautavaara, Marjatta Theo Adam, Wotan, Baritone Theo Adam, Wotan, Baritone Theo Adam, Wotan, Baritone Ulla Sippola, Ruotus' WIfe Vienna Philharmonic Orchestra Vienna State Opera Chorus Vuokko Hovatta, Maiden Wolfgang Windgassen, Siegfried, Tenor Wolfgang Windgassen, Siegfried, Tenor Wolfgang Windgassen, Siegfried, Tenor Wolfgang Windgassen, Siegfried, Tenor Wolfgang Windgassen, Siegfried, Tenor Wolfgang Windgassen, Siegfried, Tenor Yvonne Minton, Fricka, Soprano Yvonne Minton, Fricka, Soprano Yvonne Minton, Fricka, Mezzo soprano |
Author: Arnold Whittall
''Not again!'' could be the seasoned reader's reaction to the above heading. But even classics of the gramophone have to move with the times, and in its latest manifestation the Decca Ring, first issued on CD in 198F5, is now available at medium price (approximately £115 00).
Thirty years to the month from the first LP issue ofDas Rheingold, a brief reappraisal may not come amiss. As perspectives on the Solti/Culshaw enterprise lengthen, and critical reactions are kept alert by the regular appearance of new, or newlyissued, and very different recordings (Krauss, Levine, Haitink) it may seem increasingly ironic that of all conductors the ultra-theatrical Solti should have been denied a live performance. There are indeed episodes in this recording that convey more of the mechanics of the studio than of the electricity of the opera house—the opening of Die Walkure Act 2, and the closing scenes of Siegfried and Gotterdammerung, for example. Yet, in general, dramatic impetus and atmosphere are strongly established and well sustained, sometimes more powerfully than is usually managed in the theatre. As just one example I would instance the superb control with which the intensity of Donner's summoning up of the thunder in Das Rheingold is maintained across Froh's greeting to the rainbow bridge (which often falls flat in the theatre) into Wotan's own great salutation. At the majestic climax of this scene the power of feeling conveyed by George London's fine performance counts for more than any 'artificiality' in the way the voice is balanced against the orchestra. Equally memorable in a totally different context is Solti's management of the long transition in Gotterdammerung between Hagen's Watch and the appearance of Waltraute. Nothing could be less mannered or unnatural than Solti's grasp of perspective and feeling for the life of each phrase in this music.
Even so, I am not proposing to offer a fullblown revisionist interpretation of Solti'sRing, arguing that he always prefers deliberation to impetuosity and that the recording itself has the ideal natural balance. On CD the clarity of instrumental detail is consistently remarkable, and while not all the singers sound as if they are constantly in danger of being overwhelmed (Hagen's Watch is a good example of an appropriately forward vocal balance) there are some vital episodes especially those involving Wolfgang Windgassen and Birgit Nilsson. Where awareness of what these artists achieved in other recordings strengthens the suspicion that they may have been giving more than we actually get in this case. Windgassen in particular is not allowed to dominate the sound-picture in the way his part demands, and Nilsson can seem all-too relaxed within the comforting cocoon of the orchestral texture. Factors like these, coupled with those distinctive Soltian confrontations between the harddriven and the hammily protracted, have prevented the Decca cycle from decisively seeing off all its various rivals over the years.
It is nevertheless still open to question whether any studio recording of The Ring could reasonably be expected to be more atmospheric, exciting or better performed than this one. The Vienna Philharmonic are not merely prominent, but excellent, and such interpretations as Svanholm's Loge, Neidlinger's Alberich and Frick's Hagen remain immensely impressive. Above all, there is Hans Hotter, whose incomparably authoritative, unfailingly alert and responsive Wotan stands up well when compared to his earlier Bayreuth accounts. Nowhere is he more commanding than in Siegiried Act 1, where one even welcomes Stolze's mannerisms as Mime for the sparks they strike off the great bass-baritone. Earlier in this act the interplay of equally balanced instruments and voices in relatively intimate conversational phrases displays the Culshaw concept at its most convincing. So there can be no doubt that, despite the occasional thumps from Solti, despite somewhat skimpy presentation (the Gotterdammerung tracks are not timed), and however many other Rings you may have, your collection will be the poorer without this one.'
Thirty years to the month from the first LP issue of
Even so, I am not proposing to offer a fullblown revisionist interpretation of Solti's
It is nevertheless still open to question whether any studio recording of The Ring could reasonably be expected to be more atmospheric, exciting or better performed than this one. The Vienna Philharmonic are not merely prominent, but excellent, and such interpretations as Svanholm's Loge, Neidlinger's Alberich and Frick's Hagen remain immensely impressive. Above all, there is Hans Hotter, whose incomparably authoritative, unfailingly alert and responsive Wotan stands up well when compared to his earlier Bayreuth accounts. Nowhere is he more commanding than in Siegiried Act 1, where one even welcomes Stolze's mannerisms as Mime for the sparks they strike off the great bass-baritone. Earlier in this act the interplay of equally balanced instruments and voices in relatively intimate conversational phrases displays the Culshaw concept at its most convincing. So there can be no doubt that, despite the occasional thumps from Solti, despite somewhat skimpy presentation (the Gotterdammerung tracks are not timed), and however many other Rings you may have, your collection will be the poorer without this one.'
Wagner Der Ring des Nibelungen
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