Favorite Ring Cycle

[stenka razin]

I guess that Ring Cycles fall into categories: the tense and intense (Clemens Krauss, Karl Böhm, Joseph Keilberth, Pierre Boulez); epic, broad, and architectural (Wilhelm Furtwängler, Hans Knappertsbusch, Reginald Goodall, James Levine, Daniel Barenboim); colorful, poetic, and chamber-like (Herbert von Karajan); big-boned and volatile (Georg Solti); literal (Bernard Haitink, Marek Janowski).

My favorite is the Solti.

What is yours?

[Heck148]

Solti/VPO/Decca

a great achievement of recording.

[karlhenning]

Oblique praise, surely ; )

Cheers,
~Karl

[Chalkperson]

Keilberth on Testament...

[maestrob]

Solti has better sound and a better orchestra, but Hotter's decaying voice with a heavy wobble rules this one out for me. The Siegfried is great, however.

The Testament stereo Ring has both the voices and the conducting I like, and is in decent sound. The thrill of being there LIVE cannot be overemphasized.

Levine's DVD set is excellent except for the Siegfried (who shall remain nameless): he simply cannot get through the role without crashing and burning.

It's really hard to pick a favorite, but if I had to, I'd go to a desert island with the Testament.

[John F]

The Solti recording has the classic "Ring" singers of our time - my time, anyway - and the Vienna Philharmonic in top form, plus splendid recording. Solti isn't too bad either. An easy choice for me.

[Auntie Lynn]

I've got the Solti with Nilsson (she's great!!) and the video with Levine, Jerusalem, Behrens (Salminen kinda steals the show in two roles) - anyway, every January 1, I have The Nibelung Bowl - it starts at 7 a.m. and ends at 11 p.m. and we go straight through. Come on over - bring a six pack...

Was there ever a greater name for a singer than Wolfgang Windgassen...

[slofstra]

Can I post a supplementary question?

Best Ring on DVD?

Is there a full movie production version? e.g. not just a filmed stage version?

[TopoGigio]

The Mortier ?

[Chalkperson]

Can I post a supplementary question?
Is there a full movie production version? e.g. not just a filmed stage version?

Hopefully Not...the idea of a Fourteen Hour Ring Movie scares the sh*t out of me...

[TopoGigio]

I donnt know the Kempe 57 of Te$tament,but It sounds consumptive and
interesting...

Don't be misled by the familiar names in the cast; this is an unusual Ring. The remastered taping of a 1957 Covent Garden cycle teams frequent Wagnerians Hans Hotter, Wolfgang Windgassen and Birgit Nilsson with a conductor somewhat underrepresented on disc and quite underappreciated in this repertoire. Rudolf Kempe may challenge longstanding views of the Ring — and of these established singers.

There's an interesting start with a Rheingold that seems almost a miniature. Rather than the grandeur and the infernal rage caught by some recordings, this prologue emphasizes irony, and even a dark comedy. The cast is a bit light in timbre, with lyric-seeming baritone Otakar Kraus as Alberich (a far cry from the gnarled, cavernous menace of Gustav Neidlinger, in the 1953 Furtwangler version), an almost wispy Loge (Erich Witte), a subtle Fricka (Georgine von Milinkovic) and the moody Wotan of Hotter, who seems to be keeping something in reserve for the rest of the cycle.

With light but colorful orchestral textures, quick tempos and sensitive line readings, Kempe produces a vivid human comedy of the leveling effect of greed. Class differences inform this reading, but in the personal rather than broad social sense; one hear Loge's distaste, and a kind of reluctant fascination, for Alberich and the giants. Wotan at this point is wily, impatient, self-involved yet curious. In this scaled-down context, the non-earthy mezzo of Maria von Ilosvay as Erda seems substantial enough, though she does far better, a few operas later, as Waltraute, pleading movingly with Brünnhilde.

A singer not included in this cast — baritone Dietrich Fischer-Dieskau, who was Kempe's unlikely choice for Telramund on a studio recording of Lohengrin in the 1960s — praised the conductor's lyrical and transparent approach to Wagner. Those qualities are in strong evidence here, especially in a magical moment such as Hotter's emotionally charged, formidably controlled mezza voce in "Der Augen leuchtendes Paar" in Walküre's Act III. But just as impressive is Kempe's unfailingly dramatic approach to the music, which is not a matter of overwhelming force.

The pairing of Kempe and Nilsson seems particularly fruitful. By my reckoning, this was only the soprano's third international Ring (after Munich and San Francisco), and though there's no mistaking that timbre and delivery, the Nilsson brand was not yet fully defined. One surprise is what, for her, comes close to sounding like inconsistency. As expected, she enters like gangbusters, in a tough, airborne "Hojotoho," hovers excitingly around Fricka's final lines and manages the strong emotional arc of the Todesverkündigung with assurance and versatility. But the Walküre finale, including her sendoff to Sieglinde, lacks the flexibility and the overwhelming projection I recall from her Met performances in the 1960s and '70s (and the EMI recording), especially those endless high crescendos.

The last two operas, however, close with typical Nilsson triumphs, not surprisingly, with real warmth rather than sheer force. A few top notes earlier in Götterdämmerung misfire, but there is ample compensation in the way she connects with Brünnhilde's mortifying dilemma. What's most fascinating is her flexibility and intensity even in the lower register, often considered her main weakness. She is unusually emotive on the nearly spoken line "Mir schwindet das Licht," in Act II.

The conductor's Siegfried shows what his attention to pacing and dialogue can do. Passages that can seem labored or arid here take on new color. Consider Wotan's competitive quiz with Mime in Act I — in which the god reminds us yet again that he has read the libretto. The listener knows the answers too, but they gain an unusual urgency as the adversaries' reactions to one another are emphasized and tension builds.

Up-tempos contribute to the characterization of Siegfried as well, a procedure that has its risks, as we hear in Windgassen's botched entrance in the hero's hectic hymn of self-love in Act I. But the pace emphasizes the brightness and firmness of most of his singing (notably in his imitation of the Forest Bird in Götterdämmerung), so that it becomes a more youthful, naïve and dashing image of heroism than the classic heldentenor sound.

The Mime of Peter Klein contributes further to the dramatic interest. His robust tone is easier on the ear than the traditional Mime's bleating, and it humanizes the character. His schizophrenic meltdown in Act II, the quick swings between threats and assurances, become even more sinister after that show of relative normalcy.

Kempe can't quite match this level of intensity in his Götterdämmerung, though Nilsson and Windgassen are formidable. The dark bass of Kurt Böhme, as Hagen, helps offset the somewhat recessive Gunther of Hermann Uhde (more impressive in other roles in those years) and Elisabeth Lindermeier's attractive but cool Gutrune.

As with many live-taped performances, you have to expect some distractions, which include persistent extraneous noises on the second Götterdämmerung disc, some acoustical dead spots and what seems an audience of consumptives. The recorded sound still allows individual orchestra instruments to make a fabulous impact — low strings, for example, and winds at many points, as well as the brilliant horn for Siegfried's theme.

Altogether this Ring resounds with conviction, and the non-German cast members seem as involved as the native speakers. Sylvia Fisher brings vulnerability and urgency to Sieglinde, and secondary roles are filled ably by historic figures including Amy Shuard and, as a clear, vibrant Woglinde, Joan Sutherland. The major disappointment is Ramón Vinay, remembered as a tempestuous dramatic tenor but too inflexible and bombastic as Siegmund here to suggest more than a passing hint of human emotion. When he finally achieves a touch of a diminuendo in his last address to Sieglinde, one has to smile, sensing Kempe's effort behind a hard-won concession.

(David J Baker)

[AntonioA]

I "learned" the ring with Soltis Decca recording many years ago.The soundstage on the ride of the Walkyries impressed me a lot back then. But now I prefer Krauss 1953 live recording.

[Sylph]

Not the absolute favourite, but I wanted to make it clear it exists.

There are the DVDs also.

[Sylph]

Also:

[Sylph]

I've just read a review which finds Levine's recording "turgid, legato-obsessed".

[TopoGigio]

The 1966/70 Ring'DG
_______________
bbut the true Original is the 1951 Ring,of course...
Somebody Was There?

I hope a complete version at some vault,,,
Somebody Was There?

[slofstra]

Can I post a supplementary question?
Is there a full movie production version? e.g. not just a filmed stage version?

Hopefully Not...the idea of a Fourteen Hour Ring Movie scares the sh*t out of me...

Nancy and I are just working through the extended LOTR, so what's the diff?

I did see the cycle live a couple of years ago in Toronto, over 4 nights. They tended to start in the afternoon so you could get out at a reasonable time. I think with the two intermissions Gotterdamerung took 5 hours or so. Anyway, I kept boasting to my friends about seeing the Ring (the tickets were fairly impossible to get, and expensive; it was a $20 million production, the first week was broadcast live coast to coast on the CBC, and it took place in Toronto's new $150 million opera hall - okay, what's a million anymore when the news is full of billions and trillions - but you get the picture). Anyway, the standard reaction to all this boasting, and these were people who generally like classical, was: you poor man, or this: .
There are a lot of Wagner non-fans out there.

All the same I do not like opera on CD all that much; DVDs are much preferred.

[Chalkperson]

Can I post a supplementary question?
Is there a full movie production version? e.g. not just a filmed stage version?

Hopefully Not...the idea of a Fourteen Hour Ring Movie scares the sh*t out of me...

Nancy and I are just working through the extended LOTR, so what's the diff?

Nothing, I won't watch LOTR either...

[slofstra]

Can I post a supplementary question?
Is there a full movie production version? e.g. not just a filmed stage version?

Hopefully Not...the idea of a Fourteen Hour Ring Movie scares the sh*t out of me...

Nancy and I are just working through the extended LOTR, so what's the diff?

Nothing, I won't watch LOTR either...

Can we work Howard Shore into this discussion? He's Canadian, eh? First guy to write 14 hours of music since Wagner, eh? You can get all 14 hours of it at amazon.

[Lance]

Well, in this case the SOLTI is the cream of the crop for me, but I suppose part of this is because of Birgit Nilsson's participation. I grew up with the Furtwängler set that came out in a deluxe Seraphim LP boxed set, which I still have and enjoy.

No doubt you have read John Culshaw's book Ring Resounding or George Bernard Shaw's Perfect Wagnerite: Commentary on the Nibelung Ring.

I guess that Ring Cycles fall into categories: the tense and intense (Clemens Krauss, Karl Böhm, Joseph Keilberth, Pierre Boulez); epic, broad, and architectural (Wilhelm Furtwängler, Hans Knappertsbusch, Reginald Goodall, James Levine, Daniel Barenboim); colorful, poetic, and chamber-like (Herbert von Karajan); big-boned and volatile (Georg Solti); literal (Bernard Haitink, Marek Janowski).

My favorite is the Solti.

What is yours?

[barney]

Has anybody outside of Australia heard of, let alone heard, the recent set with the South Australian opera, recorded on SACD by Melba Recordings? I think it is rather good, myself.

[slofstra]

I take it there is no good set on DVD that anyone is excited about? A few mentions above, but that's it?

The reason I prefer DVD is that if I'm listening to a foreign language opera on CD I need to be looking at the libretto anyway. So if I have to use my eyes (in a concentrated way) I may as well look at people singing on screen.

[Chalkperson]

Has anybody outside of Australia heard of, let alone heard, the recent set with the South Australian opera, recorded on SACD by Melba Recordings? I think it is rather good, myself.

I have them, it's pretty damn good in fact, a little too much stage noise but very good recordings, I have not listened to all of it yet, it zips along at a fair old clip, that definitely helps, I have not seen the DVD's of it...

[slofstra]

Noted in today's color insert for CDs in the Globe and Mail. A new DVD recording of the Ring -



And also this one came up on the amazon website:



Anyone know anything about either of these?

[david johnson]

I've been listening to the Marek Janowski cycle the past few days and am very pleased with what I hear.

dj

[John F]

I take it there is no good set on DVD that anyone is excited about? A few mentions above, but that's it?

The reason I prefer DVD is that if I'm listening to a foreign language opera on CD I need to be looking at the libretto anyway. So if I have to use my eyes (in a concentrated way) I may as well look at people singing on screen.

The Metropolitan Opera production is the closest to putting the actual story and characters of Wagner's "Ring" before your eyes. All the others, at least those I've seen and read about, substitute the stage director's characters and story line for Wagner's, and while some may find this interesting, it bugs the h*** out of me.

The Met Ring is also among the most strongly cast and conducted on video: James Levine in charge, with Hildegard Behrens, Siegfried Jerusalem, James Morris, and Kurt Moll among those in the lead roles. It's also the least expensive at amazon.com, at $79.97.

One other DVD set carries that price, the Copenhagen Ring, which as far as I can see has nothing to recommend it: a particularly irritating Eurotrash production with ordinary singing except possibly Stephen Milling in the Hunding/Hagen roles and merely competent orchestral playing and conducting. Sad that this appears on the same Decca label which recorded the first complete Ring cycle in history, still the most strongly sung and magnificently played on records. If the Copenhagen "Ring" is what passes for a major classical project at Decca these days, maybe they should indeed pack it in, as Norman Lebrecht has prematurely "reported" that they already have.

A video souvenir of Decca's recording sessions for their classic "Götterdämmerung," with Georg Solti and Birgit Nilsson (and Grane!) the centers of attraction, is on DVD as "The Golden Ring," available from amazon.com. Remembrance of things past.

The proliferation of Ring cycles on DVD merely goes to show how thin the ranks of adequate Wagner singers remain, and how decadent and bankrupt the art of operatic stage direction as practiced in Europe. New York this spring, and Seattle in August, may be the only places in the world where you can see a proper Ring cycle in the theatre nowadays. O Schmach, o Schande!

[DavidRoss]

In my efforts to discover why a sizable percentage of music fans (including some I respect very much) so admire the Ring, I've acquired CDs by Böhm, Janowski, & Solti and DVDs by Boulez & Levine. The dramatic Solti and the lithe Janowski bore me the least. I agree with John F about the DVDs--though I've also seen clips of the minimalist Amsterdam staging and it seemed better than those recasting Wotan as a pimp in Vegas and so on.

Although I appreciate the beauty of some of the music, Wagner's music drama is not dramatic at all to me, but long-winded and turgid. I can admire the concept, but when it comes to execution Wagner's reach far exceeded his grasp. Too bad he lacked the capacity for meaningful self-criticism, or the humility to collaborate with a skilled librettist and dramatist.

[Sylph]

Boulez is boring too, David?

[DavidRoss]

Boulez is boring too, David?

Well, Sylph, I don't care for Chéreau's staging, but there's not much Boulez or anyone else can do about the lack of dramatic action and tiresome repetition of banalities expressed as if wondrously profound. If Wagner had written MacBeth, it would take four nights to perform and MacBeth's meeting with the witches would run on for forty-five minutes.

[jbuck919]

Interesting that this appears simultaneously with a thread about Levine conducting Brahms. For my own personal tastes, as much as I love Levine (and worship Brahms), I don't think I'll be seeking out that recording. I cut my teeth on Bruno Walter, and while I would not exactly say that is the last word, as with so many other things I don't feel the particular need to own many recordings of some music I consider very great indeed. There just isn't that huge a range of possible interpretations.

The Ring of course is another story, and if I could afford it I would probably buy up every available version and then join the Ring groupies who travel the world for the latest Ring (in fact, I have never seen one live, though I lived 30 miles from Bayreuth when I was in Germany). In opera and in particular the great Wagner operas, there is so much there that invites a virtual infinity of interpretations.

Now the Washington Opera is gearing up for a complete Ring. In the current climate there may actually be tickets available to the general public. Washington is a city I know. Hmmmm.....

[John F]

Unfortunately, the Washington National Opera (as it's now called) has put off its Ring cycle indefinitely. However, the new production of "Siegfried" continues to be on the schedule with 5 performances May 2-17.

The dramatic changes in the nation's economy have made all of us who are responsible for WNO's welfare reluctantly come to the difficult decision to postpone the 'Ring' cycle until the financial climate becomes more positive.

The full Washington Post story is here:

http://www.washingtonpost.com/wp-dyn/co ... 03654.html

And Washington National Opera's announcement:

http://www.dc-opera.org/ourseason/americanring.asp

Personally, I wasn't interested in a no-name conductor and cast (except for the well-named Alan Held as Wotan) taking on this most challenging of all musical dramatic works, least of all in Francesca Zambello's Ameritrash production:

Dubbed "The American Ring," Francesca Zambello's production frames the operas in an allegorical American setting, with Indians, gold prospectors and black slaves.

With John Wayne as Siegfried? Yeah, right.

[Sator]

I know this is an old post and I've watched it do it's rounds a few times.

However, I just had to say that as a fairly devoted Wagnerian, I find Solti unlistenable. For me command of long term Wagnerian symphonic structure from first note of das Rheingold to the last note of Goetterdaemmerung is critical. Some will say: oh my God, but Wagner has no structure, it is a total mess. It is for such people that Solti's Ring exists. I agree with Boulez that there Wagner's Ring has tremendous structural unity, every bit as rigorous as that of a work by Boulez himself or Webern.

My two favourites Ring cycles are Boulez and Boehm. The wonderful thing about the Boulez is that it has an emotional impact that boarders on hysterical excess.

[John F]

Sorry, Sator, but I don't buy it.

I've read about the purported symphonic unity of the Ring cycle, by Lorenz and others, but frankly don't hear it in the music itself. Wagner was not bashful about making big claims for his operas but symphonic unity was not among them, not even for "Tristan und Isolde" to which, as a tightly unified work (in contrast with the Ring), it might seem to apply if anywhere. Rather, he promoted them as a new kind of music drama, growing out of Aeschylus and grounded in contemporary philosophy (Nietzsche, Schopenhauer). I suppose it's not totally impossible that Wagner might inadvertently, accidentally, have created something describable as symphonic unity in an opera extending over four hours, or even a tetralogy extending over four days, but I don't hear any convincing evidence that he actually did - certainly not "a long term Wagnerian symphonic structure from first note of das Rheingold to the last note of Goetterdaemmerung." If this structure isn't in the music, how can it be in a performance?

As far as I know, Böhm never claimed to have discovered such unity in the Ring and shaped his interpretation to bring it out. He was a man of the theatre to his bones and such an abstract conception would seem to me alien to his temperament and approach. Boulez, often ready with a theoretical justification for whatever he does, may have made such an argument, but I haven't seen it. What about their performances conveys the notion that they somehow achieved what Böhm, at least, wouldn't have set out to do? Apart from their being very fast and rather uninflected, in comparison with other earlier conductors and some later ones.

There are certainly those who find Solti's Wagner unsatisfying for one reason or another, and I've heard better Wagner conducting myself - though not in the Böhm and Boulez Ring cycles. It's also not to be expected that Solti's approach to the Ring was so fully developed and carved in stone that the four operas, recorded over a space of seven years, could have the same continuity of impulse as, say, a live Ring cycle performed within a week or recorded within a few months. As a matter of personal taste, then, I've no problem when others think less well of his Wagner conducting than I do. But if his way with the Ring is somehow less "symphonic" than Böhm's or Boulez's, but more attuned to the dramatic ebb and flow of the work, I say that's all to the good.