Best recording of Wagner's "Ring"
aon.912167750
of "The Ring of the Nibelung". But I do not know much about classical music,
let alone Richard Wagner's . Is there any striking recording.
I am Austrian, so I thought Herbert von Karajan's recording (1967-1970)
could be one of the best - but a friend of mine said the music was excellent
but the singers ware all miscasts. And now my question to all experts: which
is the best recording.
Thanks alot
Susanne Hauptmann [I hope you don't mind my bad English]
Andy Evans
the best.>>
That's honesty, at least! The Italians voted Pollini "Pianist of the
Century" - were they aware they were being 'Italian' at the time, I wonder?
Benjamin Maso
aon.912167750 wrote in message
<38538859$0$20...@SSP1NO17.highway.telekom.at>...
Karajan's singers arent' all miscast, though some are (Dieskau as Wotan, for
instance). But I would buy the Ring on Philips, live recordings made in
Bayreuth, with more dramatic and theatrical tension than Karajan could reach
in the studio. What's more: it's less expensive and last but not least
directed by another Austrian (Karl Boehm).
Benjo Maso
JKauff001
conducting but it's exciting, dramatic and involving. The sound is wonderful
and the orchestra (Vienna) is the best Wagner orchestra in the world (those
horns!!). The casting was the best that could be brought together at the time,
not Golden Age but in some cases fantastic(Nilsson) and never less than
adequate. The Karajan suffers from his chmaber approach wich doesn't work at
all for Gotterdamerung and serious miscasting (Fischer-Dieskau) or undercasting
(Brilioth). The Levine and Haitink should be avoided and the other all have
sound deficiencies which don't help in a first hearing. Go for the Solti first
and then investigate some other historic sets like Furtwangler, Krauss or
Knappertsbusch. Wolf
Lars Henriksson
Rheingold, and one of his best operatic achievements. I think it's much more
aggreable in tone than the rather gritty London on the Solti.
So my advice would be:
Das Rheingold- Karajan
Die Walküre - Solti
Siegfried - Karajan
Götterdämmerung - Solti
Lars Henriksson
opera singer, pianist
la...@hotmail.com
Benjamin Maso <benj...@euronet.nl> skrev i
diskussionsgruppsmeddelandet:8304tv$89k$1...@beast.euro.net...
Thomas Deas
"aon.912167750" <susanne....@aon.at> wrote in message
news:38538859$0$20...@SSP1NO17.highway.telekom.at...
> I wonder if somebody can help me. I would like to buy the complete
recording
> of "The Ring of the Nibelung". But I do not know much about classical
music,
> let alone Richard Wagner's . Is there any striking recording.
> I am Austrian, so I thought Herbert von Karajan's recording (1967-1970)
> could be one of the best - but a friend of mine said the music was
excellent
> but the singers ware all miscasts. And now my question to all experts:
which
> is the best recording.
Solti's is well-regarded; he was Hungarian, which, at the time of his birth,
was closely linked to Austrian, if that helps. It's also well-presented (no
jewel-cases).
>
> Thanks alot
>
> Susanne Hauptmann [I hope you don't mind my bad English]
I didn't notice it (except the lack of ?s). Besides, wir sollen
entschuldigen uns ueber unser extra-schlecht Deutsch.
--
Thomas Deas
http://www.deas.freeserve.co.uk
Interviewer: Tony Blair has said that "nutritional problems" - that is a
quote - in Iraq are not the result of sanctions...
Noam Chomsky: Every time Tony Blair opens his mouth, he looks more
disgusting and ridiculous, and his performance marked a painful and shameful
day in the history of Britain.
http://www.the-hindu.com/fline/fl1601/16010120.htm
Dave Hurwitz
doesn't survive two seconds of listening to the actual discs. His is the
best conducted Ring available, and the most coherent as a conception of the
piece. The irony here is that Karajan had a reputation as a "singer killer,"
who paid attention solely to the orchestra at the expense of the voices.
Here, where he takes infinite pains to provide orchestral clarity while
still keeping every word audible, he get's accused of somehow diminishing
the music's impact. Untrue. His orchestral climaxes are overwhelming; far
more impressive than Solti's and every bit as full. Nor are his singers
miscast; any opera house today would die to have the casts he assembled for
his recordings. The principal objections concern Dernesch's Burnhilde, and
the title character of Siefried, and these objections seem absurd today,
given the dearth of great Wagner singers. This is not to say that some roles
haven't been better done elsewhere, but if the conducting is your main
criterion, he's clearly the way to go. For the most purely dramatic
performance combined with the best singing, my recommendation would be the
live Bohm, who has all of Solti's best singers (plus Leonie Rysanek's
wonderfully psychotic Sieglinde) and is about ten times more exciting.
Solti's recording, to my mind, sounds a bit studio-bound. He has neither
Karajan's vision nor Bohm's dramatic insight, and its prinicipal glory is
the playing of the Vienna Philharmonic. I don't believe that sonics are an
issue here: all three sets sound fine.
--
David Hurwitz
Executive Editor
ClassicsToday.com
http://www.classicstoday.com
dhur...@classicstoday.com
aon.912167750 <susanne....@aon.at> wrote in message
news:38538859$0$20...@SSP1NO17.highway.telekom.at...
> I wonder if somebody can help me. I would like to buy the complete
recording
> of "The Ring of the Nibelung". But I do not know much about classical
music,
> let alone Richard Wagner's . Is there any striking recording.
> I am Austrian, so I thought Herbert von Karajan's recording (1967-1970)
> could be one of the best - but a friend of mine said the music was
excellent
> but the singers ware all miscasts. And now my question to all experts:
which
> is the best recording.
>
Dave Hurwitz
Brunhilde and Siegfried, obviously. Sunday morning typos.
--
David Hurwitz
Executive Editor
ClassicsToday.com
http://www.classicstoday.com
dhur...@classicstoday.com
Dave Hurwitz <sce...@erols.com> wrote in message
news:830i0s$or7$1...@autumn.news.rcn.net...
Curtis Croulet
composed his operas with Italian-style singers in mind, not the heavy-weight
barkers and amazons that came to be associated with his operas. Also, the
fact that the top singers were already under contract elsewhere and had
recently recorded the Ring may have been a factor! In any case, I have
received much pleasure from Karajan's Ring, and I think it has taken some
uninformed hits from reviewers over the years. For a first Ring, however, I
would suggest Solti *except* for the fact that the latest remastering is
*still* too bright for my ears. These days, the special effects don't count
for much. Many sound pretty phony. Böhm's cycle has many of the same
singers and has more reasonable sound, not to mention the Bayreuth acoustic,
which allows the orchestra to play with great force without swamping the
singers.
--
Curtis Croulet
Temecula, California
Josep M. Vilanova
old and after spending the savings of six months. I used to be quite fond of
it, but although I agree with Dave in general terms, I found Karajan's
approach a bit too sweet for my current taste. Anyway, I do like his clear
orchestral textures and I don't find the casting of Fisher-Dieskau as a
young Wotan so unacceptable. Maybe with the time I tended to like more other
approaches, and I find Baremboim quite exciting, and probably the best one
between the DDD versions.
I have mixed thoughts about the Boulez recording: I love its Wotan and its
Brunnhilde (Gwyneth Jones was not in her best vocally, but she has an
impressive capacity to express all the mixed emotions in Brunilde
personality, maybe an influence of the stage direction of Patrice Cherau).
I haven't thought about it before, but I agree that the Solti's recording is
too studio bound. There is something in it, some superficial brilliance,
that is ok for half an hour listening but that disappoints in the long term.
Then, probably the poster will be quite confused with the different opinions
in this tread. There is not an ideal version of the Ring, and any version
have some flaws and some virtues. But in the other hand, Karajan, Solti,
Bohm, Boulez, Baremboim, Furwaengler, all of them have something to say and
he won't be disappointed with any of them. And, if he wants to follow my
advice, the best way to approach the Ring is watching it, and purchasing one
of the video/DVD versions (Boulez and Baremboim in order of preference).
josep
Simon Roberts
: I read somewhere that Karajan chose his singers under the theory that Wagner
: composed his operas with Italian-style singers in mind, not the heavy-weight
: barkers and amazons that came to be associated with his operas. Also, the
: fact that the top singers were already under contract elsewhere and had
: recently recorded the Ring may have been a factor!
Whatever the reasons, I think that his casts have, for the most part, the
most attractive voices of any on a stereo Ring, and they're a pretty
characterful bunch as well. We're usually told, for instance,
that Crespin isn't a natural Bruennhilde. Perhaps. But to these ears,
not only is her voice vastly more attractive than Nilsson's, but her vocal
acting is also far superior; her encounter with Wotan in the last half
hour or so of Walkuere (Stewart is no handicap) is a wonderful example of
vocal acting. I also agree with those who reject the common view that
this is a "Chamber Ring". It's not (try the storm that kicks off
Walkuere); perhaps this is a reaction to Karajan's paying attention to
just how much of the music is quiet and intimate. My main complaint
(which varies with my mood; sometimes I don't find it a problem at all) is
that his tempi can be slow; I occasionally wish he would just get on with
it.
In any case, I have
: received much pleasure from Karajan's Ring, and I think it has taken some
: uninformed hits from reviewers over the years. For a first Ring, however, I
: would suggest Solti *except* for the fact that the latest remastering is
: *still* too bright for my ears. These days, the special effects don't count
: for much. Many sound pretty phony. Böhm's cycle has many of the same
: singers and has more reasonable sound, not to mention the Bayreuth acoustic,
: which allows the orchestra to play with great force without swamping the
: singers.
Solti's conducting, and the recorded sound, has more immediate "impact"
and is often impressively athletic. But there are times when his
conducting is impossibly square: compare his choppy isolated phrase by
isolated phrase reading of the great orchestral interlude in Wotan's
Farewell (the climax of the opera?), which inter alia fails to connect
across the silences, with just about anyone else (including Karajan and
Boehm). I agree that, if you like Solti's singers, they're more involved
on Boehm's set (but then, I don't). If I were to keep one studio set, it
would be Karajan's. Someone who insists on digital should get
Barenboim's.
But whatever else one gets, unless one is mono-phobic, the "Potted Ring"
on Pearl is mandatory listening; not only are the sound and conducting
good, the singing remains, overall, in a class by itself.
Simon
JKauff001
conducting, Austrian or not, is fast and hateful robbing the work of much of
its nobility and substituting a feverish kind of haste that may be initally
exciting but is in the long run quite beside the point. It also suffers from
the problems of live performance (Siegfrieds forging song is loaded with
errors). The casting point for point does not hold up well against Solti e.g.
Frick vs. Greindl as Hagen is just no contest. I sample that set once in a
while but as an only version I don't think so. Wolf
Bryant Russell
trying to sell Solti's Gotterdamerung for $60 or so. And that's typically
the only viable version (I understand that Opera d'Oro doesn't count, eh?!).
They do let you touch the box, but I get hives every time I think of
purchasing one work at such an obscene price (to me at least).
Send me a clue: with all the other great classics to work my way through,
including orchestral, symphonic, vocal, etc., why does any company think I
have $60 to spend on just one opera?
Regards,
Bryant Russell
Thomas Deas
"Bryant Russell" <beru...@worldnet.att.net> wrote in message
news:8318u1$8qm$1...@bgtnsc02.worldnet.att.net...
Surely you can get the whole Ring for little more than that. I've seen it
for £75 in the UK (in a sale), or £55 second hand.
JKauff001
prefer a two door compact to a Sherman tank but not in the Battle of the Bulge.
Dernesch is stretched to the breaking point by the big moments with no reserve
at all and Brilioth cannot be taken seriously- he has about two good notes in
the middle of the voice and the voice drops out every time he tries to sing
softly. Janowitz is dull beyond beieif and Ridderbusch is so soft and
unemphatic that Hagen goes by the baords. I don't care if you like Karajans
conducting in Gotterdammerung; if the singers aren't there you may as well go
home. I would agree that Karajans Walkure is a great performance - the voices
are suitable for their roles though they all show the signs of inexperience
e.g. Crespins War es so schmalich can't compare to Nilssons. Soltis Walkure is
the weakest of his set since lyricisn is hardly his strong point. As for
Fischer Dieskaus Wotan, all the good intentions in the world cannot make up for
the fact that his voice is wrong for the role.I much prefer strong heroic
vocalism in this role to the kind of effete "Interpretation" he insists on
smearing over everything. A great singer of Schubert and Lieder but not for
this. Wolf.
Dave Hurwitz
the world's major opera houses, you'd be spending a lot more than $60, and
the experience wouldn't be repeatable. $60 is a bargain. Be grateful.
--
David Hurwitz
Executive Editor
ClassicsToday.com
http://www.classicstoday.com
dhur...@classicstoday.com
news:8318u1$8qm$1...@bgtnsc02.worldnet.att.net...
> ...I have a small confession for the group here: Local stores are still
> trying to sell Solti's Gotterdamerung for $60 or so. And that's typically
> the only viable version (I understand that Opera d'Oro doesn't count,
eh?!).
> They do let you touch the box, but I get hives every time I think of
> purchasing one work at such an obscene price (to me at least).
>
> Send me a clue: with all the other great classics to work my way through,
> including orchestral, symphonic, vocal, etc., why does any company think
I
> have $60 to spend on just one opera?
>
>
> Bryant Russell
>
>
Dave Hurwitz
reserve
> at all and Brilioth cannot be taken seriously- he has about two good notes
in
> the middle of the voice and the voice drops out every time he tries to
sing
> softly. Janowitz is dull beyond beieif and Ridderbusch is so soft and
> unemphatic that Hagen goes by the baords.
I think your characterization of Bohm's conducting as "hateful" (first post
above) is a bit much, as are your rather extreme views as to the suitability
of the various casts. I too prefer Nilsson to Dernesch, but I don't have to
say that Dernesch stinks in order to assert that Nilsson is superior. We're
all guilty of hyperbole, God knows, in defence of the music we love and care
about (or in attacking that which we don't), but this seems a particularly
extreme example. It's worthwhile in this context to recall that the singer
Wagner admired above all others, the woman who he credited with revealing to
him his purpose in life and mission as a composer, was Wilhelmine
Schroeder-Devrient, a singing actress who had, by all accounts, great stage
presence and both an unattractive voice and defective technique. Karajan's
cast is never less than adequate, and is frequently superior. It is patently
untrue to anyone with ears that Brilioth has "about two good notes in the
middle of the voice," Janowitz's supposed dullness is very much a minority
assessment, and Hagen doesn't have to shout to sound evil. The fact that
these singers may not be the best does not make them the worst either.
--
David Hurwitz
Executive Editor
ClassicsToday.com
http://www.classicstoday.com
dhur...@classicstoday.com
JKauff001 <jkau...@aol.com> wrote in message
news:19991212182709...@ng-da1.aol.com...
> A wonderful critic comparing Derneschs Brunnhilde to Nilssons said that
one may
> prefer a two door compact to a Sherman tank but not in the Battle of the
Bulge.
Bryant Russell
...thanks for your encouragement in looking further for the whole Ring, but
I'm hoping the £ is staying healthy for you <grin> -
Isn't a £ worth about $1.60 or so, making the Ring about double the $60?
Regards,
Bryant Russell
Thomas Deas <tj...@spam.ac.uk> wrote in message
news:831985$7e3$1...@pegasus.csx.cam.ac.uk...
>
> "Bryant Russell" <beru...@worldnet.att.net> wrote in message
> news:8318u1$8qm$1...@bgtnsc02.worldnet.att.net...
> > ...I have a small confession for the group here: Local stores are
still
> > trying to sell Solti's Gotterdamerung for $60 or so. And that's
typically
> > the only viable version (I understand that Opera d'Oro doesn't count,
> eh?!).
> > They do let you touch the box, but I get hives every time I think of
> > purchasing one work at such an obscene price (to me at least).
> >
> > Send me a clue: with all the other great classics to work my way
through,
> > including orchestral, symphonic, vocal, etc., why does any company
think
> I
> > have $60 to spend on just one opera?
>
Bryant Russell
I can see your point, Dave, especially at a live event. And at $60 a seat
that's cheaper than a ticket to a Detroit Red Wings hockey game (but that
would be another thread!)
Here's the rub for me, though... I've begun to see many other "core" operas
beginning to be re-released at low $20 prices for 2-disk sets. Cosi fan
tutte, Turandot, La Traviata, Der Freischutz, etc. The point is not that
these are more or less standards than the Ring cycle, and it certainly
should cost more to manufacture an opera set on, say, 4 disks. It's *why*
are the Wagner Ring operas so blasted high in comparison, even on a per-disk
basis?
Perhaps the true answer will come to me in a similar manner to an earlier
question regarding Mariss Janssons' highly acclaimed Tchaikovsky symphonies,
which Chandos continues to release at full-price short-time CDs. The answer
in that case was a great offer from MHS when they repackaged the whole lot!
Regards,
Bryant Russell
Dave Hurwitz <sce...@erols.com> wrote in message
news:831ceu$bft$1...@autumn.news.rcn.net...
> If you wanted a decent seat to go see Solti's Gotterdammerung live at any
of
> the world's major opera houses, you'd be spending a lot more than $60, and
> the experience wouldn't be repeatable. $60 is a bargain. Be grateful.
> --
> David Hurwitz
> Executive Editor
> ClassicsToday.com
> http://www.classicstoday.com
> dhur...@classicstoday.com
> Bryant Russell <beru...@worldnet.att.net> wrote in message
> news:8318u1$8qm$1...@bgtnsc02.worldnet.att.net...
> > ...I have a small confession for the group here: Local stores are
still
> > trying to sell Solti's Gotterdamerung for $60 or so. And that's
typically
> > the only viable version (I understand that Opera d'Oro doesn't count,
> eh?!).
> > They do let you touch the box, but I get hives every time I think of
> > purchasing one work at such an obscene price (to me at least).
> >
> > Send me a clue: with all the other great classics to work my way
through,
> > including orchestral, symphonic, vocal, etc., why does any company
think
> I
> > have $60 to spend on just one opera?
> >
> > Regards,
> >
> > Bryant Russell
> >
> >
>
>
Thomas Deas
"Dave Hurwitz" <sce...@erols.com> wrote in message
news:831ceu$bft$1...@autumn.news.rcn.net...
> If you wanted a decent seat to go see Solti's Gotterdammerung live at any
of
> the world's major opera houses, you'd be spending a lot more than $60, and
> the experience wouldn't be repeatable. $60 is a bargain. Be grateful.
Dave, I have lots of cds I'd like to sell you.
Tony Movshon
<susanne....@aon.at> writes:
> I wonder if somebody can help me. I would like to buy the complete recording
> of "The Ring of the Nibelung".
As previous posts suggest, the choice here is between two studio
recordings (Solti 1958-65 on Decca, Karajan 1967-70 on DGG), and a live
recording (Bohm 1967 on Philips). Each of these sets has its virtues and
its vices, and your choice should really be made on the basis of the
issues that matter most to you. None of the other recordings available
deserves serious consideration -- as a cycle -- when compared to these;
doubtless others will make individual opera and historical
recommendations. What I'm addressing here is the issue of complete Rings
in modern stereo sound.
Solti's recording is easily my favorite of the three. Although it was
the earliest recording, the sound is substantially better than either of
the other two, being superior in dynamics, range, and balance. The
orchestral playing of the Vienna Philharmonic is one of the main glories
of the set, easily outshining the other two. The Solti set was
"produced" for recording in a way that the other two were not. Some find
the approach irritating or dated, but I remain thrilled by it to this
day -- the various effects, stage movements, and changes of acoustic all
work in the service of bringing the music home to the listener at home
in a way that works for me. The most debatable aspects of the Solti Ring
concern the casting. For the most part, Solti's principals are the best
that could be had at the time, but that doesn't make them perfect: the
most glaring weakness is Hotter's Wotan in Walkure, which captures a
once-great voice in shreds (in Siegfried, 3 years before, he sounds much
better). Windgassen's Siegfried is also a little shopworn, moreso in
Gotterdammerung than in Siegfried. The women, on the other hand, are
superb. Some here dislike Nilsson's voice, but for me and I think for
most Wagnerians who hear her, she was *the* Brunnhilde of our time, and
no one since has come close. I find Solti's conducting consistently
impressive, dramatic, forceful, rhythmically alert, but sensitive to the
long arches of Wagner's structures. Others find it less satisfying, for
reasons that I have never been able to hear myself; perhaps other posts
will express that reservation.
Karajan's cycle has many admirers. Its strengths include glorious
playing from the Berlin Philharmonic, which offers a smooth, seamless
legato sonority that may not be to everyone's taste but which is surely
beautifully done. The recording quality, unfortunately, is quite
inferior. The problem is not so much in the clarity or balance of the
sound, but in the DGG engineer's crude use of automatic dynamic range
compressors. So while the recordings have very wide dynamic range, the
peaks of the music are often badly squashed and the effect is frequently
and annoyingly unnatural. Karajan's casting is more controversial than
Solti's, but if you are willing to hear the Ring with less-than-heroic
voices in many key roles, they often sing very beautifully. The main
criticisms here include Dernesch's underpowered Brunnhildes in Siegfried
and Gotterdammerung, and Jess Thomas' unappealing bleating as Siegfried.
Many also dislike Fischer-Dieskau as the Rheingold Wotan and Helge
Brilioth as the Gotterdammerung Siegfried, but I rather like both of
them. And surely Stewart, Vickers, and Crespin are superb in Walkure (my
favorite opera of this set, and the weakest of Solti's). The main issue,
in the end, is how you respond to Karajan's conducting. Others have
rightly noted that talk of a "chamber music" approach is just so much
mumble -- there's plenty of good big Wagnerian sound here. But for me,
time and again, Karajan's conducting is unresponsive to the drama -- the
music plays beautifully, but it sounds calculated, smoothed-over, and
ultimately too cold and distant. This impression is hard to pin down,
but it really cumulates over listening to an entire opera -- by the end
of one of these, I'm ready to reach out between the speakers and try to
shake some commitment into Karajan. This is all the more puzzling to me
because I heard several of the performances that preceded these
recordings, both in New York and in Salzburg, and they were superbly
theatrical. Taking Karajan out of the theater took the theater out of
his conducting (a problem repeated, in my view, in many of his later
opera recordings).
Bohm's live Bayreuth cycle has the advantage and disadvantage of being
recorded live. The sense of theater that is conveys is largely missing
from Karajan's set, and at its best (e.g. Walkure Act I) the intensity
of this performance is wonderful. The recorded sound, despite the
limitations of live recording, stage noises, etc, is quite decent,
certainly more natural than the sound that DGG gave Karajan. Bohm shares
a number of principals with Solti (Nilsson and Windgassen included);
they are generally in better voice for Solti but are sometimes more
dramatically involved for Bohm; certainly his cast is more satisfying
overall than Karajan's. The problems I have with Bohm's recording are
the orchestra, and Bohm himself. The Bayreuth Festival used to be the
summer home of some of the finest orchestral players in central Europe,
but by the time Bohm's recordings were made the Festival Orchestra was a
shadow of its former self. Bohm doesn't help -- the conducting is
consistently rather fast, the playing is weakly phrased, and (most
frustrating of all) rhythmically slack. Rhythm is terribly important in
making the music of the Ring hang together, and time and again Bohm lets
it slip and doesn't make his players toe the line. Sometimes (e.g. that
Act I of Walkure), the drama takes hold, and everyone wakes up and pays
attention. But for too much of the rest of the time, the orchestra is
just marking time and noodling along. So in the end, despite the nice
live quality and some fine singing, there's too much substandard work in
the pit for my taste.
As I noted, I prefer Solti, because his set's virtues are the most
important to me, and I am more ready to forgive its weaknesses than
some. Others with different priorities may have another preference.
--
Tony Movshon mov...@nyu.edu
Center for Neural Science New York University
Simon Roberts
: A wonderful critic comparing Derneschs Brunnhilde to Nilssons said that one may
: prefer a two door compact to a Sherman tank but not in the Battle of the Bulge.
: at all and Brilioth cannot be taken seriously- he has about two good notes in
: the middle of the voice and the voice drops out every time he tries to sing
: softly. Janowitz is dull beyond beieif and Ridderbusch is so soft and
: conducting in Gotterdammerung; if the singers aren't there you may as well go
: home. I would agree that Karajans Walkure is a great performance - the voices
: are suitable for their roles though they all show the signs of inexperience
: e.g. Crespins War es so schmalich can't compare to Nilssons.
Indeed not; it's far superior.
Simon
JKauff001
the palm goes to Solti for the combination of singing, sound, orchestra and
conducting. (Although I agree about the state of Hotters voice in the Walkure,
he was at that time still the best Wotan and it was importanat that one of the
most important assumptions of any operatic role in this century be enshrined.
And in the most important part of the role (the Narration in the second Act) he
is absolutely mesmerizing, that part of the rolelies well for him and all those
yearss of experience really show)Wolf
JKauff001
stinks. What I am saying is that the voice is not a Brunnhilde voice -you
really need herioc voices for this music. I am a great fan of Windgassen but I
never fooled myself for a moment that he had the herioic voice to sing
Siegfried. His technique allowed him to sing through it with intelligence and
musicianship but in happier days he would have been singing Erik. Comparisons
with Melchior, the young Lorenz, Urlus are quite beside the point. As for
Janowitzs Gutrune, I, of course, couldn't care less that I am in the minority.
She is so inward and withdrawn for me she vanishes. Ridderbusch doesn't sound
evil anywhere or give any kind of charchter - listen to what Frick does with it
to hear the difference. .The singers in the Karajan Ring I do like are Crespin
(I wish she had sung the role in the other works since her huge voice would
have been fascinating to hear.) and Vickers, though he wasn't in his best voice
for those sessions, and Ludwig. As for Karajan find the live Salzburg
performances much more involving all the way through. Wolf
JKauff001
the Ring and, what do you know, there has been no name-calling, character
assassinations or personal attacks!Now I wonder why that is??? Anyway it sure
is refreshing. Wolf
Simon Roberts
: Here's the rub for me, though... I've begun to see many other "core" operas
: beginning to be re-released at low $20 prices for 2-disk sets. Cosi fan
: tutte, Turandot, La Traviata, Der Freischutz, etc. The point is not that
: these are more or less standards than the Ring cycle, and it certainly
: should cost more to manufacture an opera set on, say, 4 disks. It's *why*
: are the Wagner Ring operas so blasted high in comparison, even on a per-disk
: basis?
The older ones aren't, are they? Doesn't Karajan's Ring as reissued on DG
Originals costs the same per disc as all the others in that series? Solti's
is mid-price too (as are the two disc $20 sets you're referring to) -- or
are the component parts of Solti's still full price? Boehm's used to be
budget priced, but may not be any more.
Simon
Tony Movshon
"Dave Hurwitz" <sce...@erols.com> writes:
> If you wanted a decent seat to go see Solti's Gotterdammerung live at any of
> the world's major opera houses, you'd be spending a lot more than $60
Plus, the cost of a roundtrip ticket to the afterlife is prohibitive,
even if you book it through priceline.
Simon Roberts
: "Dave Hurwitz" <sce...@erols.com> writes:
: > If you wanted a decent seat to go see Solti's Gotterdammerung live at any of
: > the world's major opera houses, you'd be spending a lot more than $60
: Plus, the cost of a roundtrip ticket to the afterlife is prohibitive,
: even if you book it through priceline.
If you don't need a return ticket, it's pretty cheap.
Simon
Dave Hurwitz
operas
> beginning to be re-released at low $20 prices for 2-disk sets. Cosi fan
> tutte, Turandot, La Traviata, Der Freischutz, etc. The point is not that
> these are more or less standards than the Ring cycle, and it certainly
> should cost more to manufacture an opera set on, say, 4 disks. It's *why*
> are the Wagner Ring operas so blasted high in comparison, even on a
per-disk
> basis?
Aha! Here you've put your finger on one of the strangest facts about the
classical record industry: the complete lack of relationship between quality
of performance and price. There is no reason at all to knock down the cost
of a unique, critically and popularly acclaimed performance merely to make
room for a mediocre new one. The fact, for example, that virtually the
entire Szell catalog is available at budget price is a boon to collectors,
but indefensible from business point of view. While you all decry the idiocy
of the major labels in terms of their lack of marketing ability and
commitment to the classics, that same idiocy has made more music available
at a cheaper price than ever before. This is the flip side of the coin. If
these companies were well run, the really good recordings (or recordings of
unique repertoire) would stay at full price forever simply because they are
unique, and because you have no alternative if you want that version. And
that's why there's no point in complaining about the cost of a 4-disc set of
Gotterdammerung. It's the right thing to do given the worth of the
performance and its uniqueness.
--
David Hurwitz
Executive Editor
ClassicsToday.com
http://www.classicstoday.com
dhur...@classicstoday.com
Bryant Russell <beru...@worldnet.att.net> wrote in message
news:831nbm$o94$1...@bgtnsc02.worldnet.att.net...
> Hmmm,
>
> I can see your point, Dave, especially at a live event. And at $60 a seat
> that's cheaper than a ticket to a Detroit Red Wings hockey game (but that
> would be another thread!)
>
>
> Perhaps the true answer will come to me in a similar manner to an earlier
> question regarding Mariss Janssons' highly acclaimed Tchaikovsky
symphonies,
> which Chandos continues to release at full-price short-time CDs. The
answer
> in that case was a great offer from MHS when they repackaged the whole
lot!
>
> Regards,
>
> Bryant Russell
>
>
>
> Dave Hurwitz <sce...@erols.com> wrote in message
> news:831ceu$bft$1...@autumn.news.rcn.net...
> > If you wanted a decent seat to go see Solti's Gotterdammerung live at
any
> of
> > the world's major opera houses, you'd be spending a lot more than $60,
and
> > the experience wouldn't be repeatable. $60 is a bargain. Be grateful.
Ernest Jones
Ernest Jones
Retired Music & Cruise Crazy Brit.
On Sunny Isles Beach
Life is an Opera
Thomas Deas
> Thomas,
>
> ...thanks for your encouragement in looking further for the whole Ring,
but
> I'm hoping the £ is staying healthy for you <grin> -
> Isn't a £ worth about $1.60 or so, making the Ring about double the $60?
Yes, but cd prices here are way higher than in the US - of course, I'm just
speculating about the price of this particular set. A full price new release
here is usually £16.99.
Lars Henriksson
Thomas Deas <tj...@spam.ac.uk> skrev i
diskussionsgruppsmeddelandet:832dhm$c7r$1...@pegasus.csx.cam.ac.uk...
Gosh, that's more expensive than Sweden; a full price new release is 179 or
189 Kr (£=13)
Lars Henriksson
opera singer, pianist
la...@hotmail.com
Curtis Croulet
proportion of winners to losers amongst the recorded Rings is very high --
higher I think than with almost any other major composition (regarding the
entire Ring as one piece for this discussion). And the situation is
extraordinary in view of the complexity and expense of recording the Ring.
For the first-time buyer, I think Solti's represents the most vivid
experience (but the sound of the CD issue *is* too bright, IMHO), and I
still enjoy reading Culshaw's book that came with the LP set. But Böhm and
Karajan are also worth exploring. Of the two, I have a particular liking
for Karajan's. It's a different *kind* of Ring, an alternate view performed
supremely well, not a needless duplication.
EM
wrote:
>Yes, but cd prices here are way higher than in the US - of course, I'm just
>speculating about the price of this particular set. A full price new release
>here is usually £16.99.
>
Good grief! That's even more expensive than here in The Netherlands.
Full price is usually 45-48 guilders (13 - 14 pounds) in this country.
By comparison, a Naxos or Sony Essential Classics cd typically costs
14.95 guilders (approx. 4.25 pounds) although some shops sell 2 for 25
guilders.
CD's are considerably cheaper in Germany, I wonder why.
Eltjo M.
Marc Perman
>Hmmm,
>
>I can see your point, Dave, especially at a live event. And at $60 a seat
>that's cheaper than a ticket to a Detroit Red Wings hockey game (but that
>would be another thread!)
>
>Here's the rub for me, though... I've begun to see many other "core" operas
>beginning to be re-released at low $20 prices for 2-disk sets. Cosi fan
>tutte, Turandot, La Traviata, Der Freischutz, etc. The point is not that
>these are more or less standards than the Ring cycle, and it certainly
>should cost more to manufacture an opera set on, say, 4 disks. It's *why*
>are the Wagner Ring operas so blasted high in comparison, even on a per-disk
>basis?
>
>Perhaps the true answer will come to me in a similar manner to an earlier
>question regarding Mariss Janssons' highly acclaimed Tchaikovsky symphonies,
>which Chandos continues to release at full-price short-time CDs. The answer
>in that case was a great offer from MHS when they repackaged the whole lot!
The remastered Karajan Ring is available separately in Canada, or at
least it was so during my last visit to the Great White North. You
should be able to find his Gotterdammerung for around $30 US there on
line, by phone, or short drive to Windsor, Ont., if you're in Detroit,
and still have some money left over for cheap seats to a Red Wings
game. An octopus to throw on the ice will cost extra.
Marc Perman
LVeeGee
I don't think he means Boehm is hateful. I think he means that he hates
Boehm's performance. I suspect our poster is not a native speaker of English,
although he uses English pretty damned well. In German you can say
"hate-able."
-david gable
litigon
Boehm's Ring is a marvelous document of a live performance, but is too
superficial to be the 'central' recording. As for Wolf's assessment of
singers on HvK's recording, I think he's being generous. Crespin herself
said that her 6 live performances of Bruennhilde had caused a vocal crisis;
gorgeous voice that Crespin had notwithstanding, it didn't possess the
physical basis for a true Walkuere. And Dernesch was almost a mezzo in
terms of her voice's natural tessitura. As for Janowitz, her Gutrune is
absolutely, completely faceless, and sounds one size too small anyways. To
this cycle's credit, HvK certainly had a conception of the Ring which is
more than can be said for Levine or Haitink. An underestimated Ring which
has not been mentioned is that of Marek Janowski, a very solidly conceived
panorama of the operas with very fine sound and good singers [granted they
are not as famous as those of counterpart recordings].
Dave Hurwitz <sce...@erols.com> wrote in message
news:831d8n$g0p$1...@autumn.news.rcn.net...
Andy Evans
Wagner, and will need a ring cycle at some point. My point of comparison for
Karajan is his Meistersinger, which I have on LP as well as Kempe. having
initially liked the Karajan for the conducting, I've swung right over to the
Kempe because the singing is absolutely glorious - the orchestra is balanced
much further back, and the singers are left to do their job with sympathetic
"accompaniment", rather than an ongoing orchestral tone poem. Now, I
therefore wonder which of the Ring cycles are of the Kempe kind - singers
first - and which of the Karajan kind - orchestra first. I realise this is a
gross simplification, but in the Meistersinger the differences really are
that distinct to my ears.
--
Andy Evans, e-mail: an...@artsandmedia.com
Visit our Website: www.artsandmedia.com
BubbaMike
And no one has mentioned Furtwangler or Krauss. Good heavens!
bubba
--
"When in charge, mediate. When in doubt, mumble.
When in difficulty,delegate."
-- Anonymous
Tony Movshon
Bubb...@yahoo.com (BubbaMike) writes:
> On 13 Dec 1999 01:41:04 GMT, JKauff001 <jkau...@aol.com> wrote:
> >I just realized something - we have been having an interesting discussion about
> >the Ring and, what do you know, there has been no name-calling, character
> >assassinations or personal attacks!Now I wonder why that is??? Anyway it sure
> >is refreshing.
>
> And no one has mentioned Furtwangler or Krauss. Good heavens!
Possibly the word "stereo" had something to do with that.
Raymond Hall
Same here (but do love Puccini), but from previous posts (maybe Simon's
post), it was suggested that HvK tends to drown out the singers much
more (less squealing and squawking). That would be my kind of Ring - one
giant enormous bleeding chunk with no singing ;-)
Regards,
Ray Hall, Sydney
Simon Roberts
: Same here (but do love Puccini), but from previous posts (maybe Simon's
: post), it was suggested that HvK tends to drown out the singers much
: more (less squealing and squawking). That would be my kind of Ring - one
: giant enormous bleeding chunk with no singing ;-)
Not Karajan's (most of his singers don't deserve to be drowned out).
Simon
Bryant Russell
Hmmm.... The irrational pricing can have its advantages, yes. Many of the
works in my collection (small by
my standards, too many by my wife's standards!) have been purchased at a
fair price. For example,
Ormandy's Sibelius 2&7 disk on Sony Essentials is one I enjoy, even more so
since on a budget label. I bought
the Philips Duo of Mravinsky et al conducting Tchaikovsky 1-3 long before
I'd pay Chandos' going rate for Janssons
(but I hear Santa's gonna be good to me this year, crossing my fingers.)
But when I get to Wagner, it's irrational under any scheme. The local
stores carry Solti and little else wrt the Ring.
I took a closer look at the pricing just this evening: Solti as Rheingold,
under $30, and Solti Gotterdammerung and
Siegfried at $59?! [Head still attached, but spinning] The pricing
certainly encourages me to explore other works first.
Still I enjoy reading the opinions of those in this group, it does help to
sort out the "better" from the "lesser" versions should
that rich uncle die & leave me something in the will.
Regards,
Bryant Russell
Dave Hurwitz <sce...@erols.com> wrote in message
news:8322fp$83p$1...@autumn.news.rcn.net...
> > Here's the rub for me, though... I've begun to see many other "core"
> operas
> > beginning to be re-released at low $20 prices for 2-disk sets. Cosi fan
> > tutte, Turandot, La Traviata, Der Freischutz, etc. The point is not
that
> > these are more or less standards than the Ring cycle, and it certainly
> > should cost more to manufacture an opera set on, say, 4 disks. It's
*why*
> > are the Wagner Ring operas so blasted high in comparison, even on a
> per-disk
> > basis?
>
> Bryant Russell <beru...@worldnet.att.net> wrote in message
> news:831nbm$o94$1...@bgtnsc02.worldnet.att.net...
> > Hmmm,
> >
> > I can see your point, Dave, especially at a live event. And at $60 a
seat
> > that's cheaper than a ticket to a Detroit Red Wings hockey game (but
that
> > would be another thread!)
> >
> >
> > Perhaps the true answer will come to me in a similar manner to an
earlier
> > question regarding Mariss Janssons' highly acclaimed Tchaikovsky
> symphonies,
> > which Chandos continues to release at full-price short-time CDs. The
> answer
> > in that case was a great offer from MHS when they repackaged the whole
> lot!
> >
> > Regards,
> >
> > Bryant Russell
> >
> >
> >
> > Dave Hurwitz <sce...@erols.com> wrote in message
> > news:831ceu$bft$1...@autumn.news.rcn.net...
> > > If you wanted a decent seat to go see Solti's Gotterdammerung live at
> any
> > of
> > > the world's major opera houses, you'd be spending a lot more than $60,
> and
> > > the experience wouldn't be repeatable. $60 is a bargain. Be grateful.
> > > --
> > > David Hurwitz
> > > Executive Editor
> > > ClassicsToday.com
> > > http://www.classicstoday.com
> > > dhur...@classicstoday.com
> > > Bryant Russell <beru...@worldnet.att.net> wrote in message
BubbaMike
>
>Bubb...@yahoo.com (BubbaMike) writes:
>> On 13 Dec 1999 01:41:04 GMT, JKauff001 <jkau...@aol.com> wrote:
>> >I just realized something - we have been having an interesting discussion about
>> >the Ring and, what do you know, there has been no name-calling, character
>> >assassinations or personal attacks!Now I wonder why that is??? Anyway it sure
>> >is refreshing.
>>
>> And no one has mentioned Furtwangler or Krauss. Good heavens!
>
>Possibly the word "stereo" had something to do with that.
Bah, a fad that can't last. Look at the extra expense, two of everything.
Humbug, next thing they will want you to sell you quad and quint systems.
All those extra speakers, where will we put them?
Bubba
MarkZ1000
have and I do admit that I really like it.
Mark
MarkZ
Tony Movshon
mark...@aol.com (MarkZ1000) writes:
> Does anyone have anything to say about Haitink's Ring? It's the only one I
> have and I do admit that I really like it.
I don't have anything nice to say about it, so I won't say it.
Simon Roberts
: Does anyone have anything to say about Haitink's Ring? It's the only one I
: have and I do admit that I really like it.
Well, so long as you like it it hardly matters whether we do, but since
you ask I'll merely note that I find it difficult to get past his
conducting, which I find terribly dull, and Eva Marton's singing.
Simon
John Wilson
wrote:
>
><susanne....@aon.at> writes:
>> I wonder if somebody can help me. I would like to buy the complete recording
>> of "The Ring of the Nibelung".
>
>As previous posts suggest, the choice here is between two studio
>recordings (Solti 1958-65 on Decca, Karajan 1967-70 on DGG), and a live
>recording (Bohm 1967 on Philips). Each of these sets has its virtues and
>its vices, and your choice should really be made on the basis of the
>issues that matter most to you. None of the other recordings available
>deserves serious consideration -- as a cycle -- when compared to these;
>doubtless others will make individual opera and historical
>recommendations. What I'm addressing here is the issue of complete Rings
>in modern stereo sound.
>
[excellent comparisons snipped]
I completely agree with Tony's evaluation and the Solti has been my
first choice for a long time now. Regarding Hotter in Walkure I agree
that his voice had seen it's best days. But for one who never had a
chance to see him live I am thankful that Culshaw and Decca saw fit to
record his masterly interpretation even when he was past his prime.
For me his insight into Wotan more than makes up for his vocal
problems.
John
khows...@zdnetmail.com
j...@earthlink.net (John Wilson) wrote:
> Regarding Hotter in Walkure I agree
> that his voice had seen it's best days. But for one who never had a
> chance to see him live I am thankful that Culshaw and Decca saw fit to
> record his masterly interpretation even when he was past his prime.
> For me his insight into Wotan more than makes up for his vocal
> problems.
I think Decca did the right thing to record him, because I don't suppose
anybody at Decca could have foreseen the day when all manner of "pirate"
recordings would be widely available, and Hotter of '67 would be
surpassed by his younger self of '53 (Krauss, Bayreuth). The earlier
performance made me understand what the fuss is about.
Kang
--
K. Howson-Jan
Sent via Deja.com http://www.deja.com/
Before you buy.
fma...@worldnet.att.net
cycle, currently on sale (Music & Arts) -- see notice below from M & A
website:
Music and Arts Programs of America, Inc.
523 Coventry Rd., Kensington CA 94707, U.S.A.
Phone (510)525-4583 E-mail musi...@sirius.com Fax (510)524-2111
Dear Wagner Enthusiast: 17 Dec. 1999
We take pleasure in making the following special Holiday seasonal offer to
you:
KNAPPERTSBUSCH'S 1956 BAYREUTH RING
CD-4009(13)
Reissued by popular demand. Special pre-publication sale -- 13 midpriced CDs
priced as 10; $79.50 until January 10, 2000.($99.50 after) Not available
elsewhere until April 20, 2000.
"The cast would be hard to better at any time, let alone now...
Knappertsbusch's rare sense of Wagner's scoring, as well as his mastery of
the formal architecture, are splendidly apparent."
--David Cairns in The Sunday Times (London)
"[Knappertsbusch] was certainly among the greatest Wagnerian conductors of
the last hundred years. Listen to his Immolation Scene with Astrid
Varnay...and you hear Brunnhilde's apotheosis unfold with an unsurpassed
sense of inevitability."
--Robert Cowan in BBC Music Magazine
"The Knappertsbusch [set] is a very special event, at its best -- and it's
often at its best -- unrivalled by any of these other readings."
--Alan Blyth in Gramophone
"Except for the final scene of SIEGFRIED, more exciting in 1958, this is the
most urgent of Hans Knappertsbusch's four impressive Bayreuth Rings..."
--C.J. Luten in Opera News
Writes critic William H. Youngren in his liner notes: "When I reflect on
what was unique about Knappertsbusch's work, Wagner's tempo direction
'Lebhaft, doch gewichtig' [lively, yet weighty] comes to mind. At his best,
Knappertsbusch was able to create impressive masses of sound that moved,
even at slow tempos, with an inner rhythmic life that propelled the drama
forward yet also, even at fast tempos, seemed never to rush along unduly,
seemed always to leave the listener time to experience everything as it went
by." This performance was previously available in a cheap set pressed in
Croatia. The present edition was carefully remastered from an original set
of broadcast tapes in superb sound. Because of its bargain price we
especially recommend it as a Christmas present.
KNAPPERTSBUSCH'S 1956 BAYREUTH RING.
Wagner: Der Ring Des Nibelungen, Hans Hatter as Wotan, Wolfgang Windgassen
as Siegmund and Siegfried, Josef Greindl as Hunding, Gre Brouwenstijn as
Sieglinde, and Astrid Varnay as Bruennhilde. With the Bayreuth Festival
Orchestra and Chorus conducted by Hans Knappertsbusch (1956). [ADD]
The slipcase features many photos from the production.
To order online, go to http://www.musicandarts.com (secure website)
To order by mail, send check or credit card info (Visa, M/C) to: Music and
Arts Programs of America, Inc., P.O. Box 771, Berkeley CA 94701 USA
Phone 510.525.4583 Fax 510.524.2111 Email musi...@sirius.com
----------
In article <385a53af...@news.earthlink.net>, j...@earthlink.net (John
Wilson) wrote:
> On Mon, 13 Dec 1999 00:19:19 GMT, to...@cns.nyu.edu (Tony Movshon)
> wrote:
>
>>
>><susanne....@aon.at> writes:
>>> I wonder if somebody can help me. I would like to buy the complete recording
>>> of "The Ring of the Nibelung".
>>
>>As previous posts suggest, the choice here is between two studio
>>recordings (Solti 1958-65 on Decca, Karajan 1967-70 on DGG), and a live
>>recording (Bohm 1967 on Philips). Each of these sets has its virtues and
>>its vices, and your choice should really be made on the basis of the
>>issues that matter most to you. None of the other recordings available
>>deserves serious consideration -- as a cycle -- when compared to these;
>>doubtless others will make individual opera and historical
>>recommendations. What I'm addressing here is the issue of complete Rings
>>in modern stereo sound.
>>
> [excellent comparisons snipped]
>
> I completely agree with Tony's evaluation and the Solti has been my
> first choice for a long time now. Regarding Hotter in Walkure I agree
> that his voice had seen it's best days. But for one who never had a
> chance to see him live I am thankful that Culshaw and Decca saw fit to
> record his masterly interpretation even when he was past his prime.
> For me his insight into Wotan more than makes up for his vocal
> problems.
>
> John
>
>
Matthew B. Tepper
>
> KNAPPERTSBUSCH'S 1956 BAYREUTH RING
> CD-4009(13)
>
> Reissued by popular demand. Special pre-publication sale -- 13 midpriced
> CDs priced as 10; $79.50 until January 10, 2000.($99.50 after) Not
> available elsewhere until April 20, 2000.
Um, Fred, you REALLY mean the 21st, don't you? Trust me on this.
Please.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
"Compassionate Conservatism?" * "Tight Slacks?" * "Jumbo Shrimp?"
TJNORT
Josef Keilberth probably deserves some credit for the higher quality that is
indicated for the 1956 Knappertsbusch RING. He was in charge of rehearsing
and conducting THE RING at Bayreuth from 1952 through 1956. (Clemens Krauss
led one cycle in 1956, Knappertsbusch the second of two cycles in 1956.) That
the cycles Knappertsbusch leads in 1957 and 1958 seem more rough-and-ready than
that in 1956 is probably due to the fact that Keilberth did not rehearse and
conduct in Bayreuth after 1956. Knappertsbusch may have been the more inspired
of the two conductors, but it appears (to lift a few words from William Blake)
that he was the eagle tending the fruits, Keilberth the mole tending the roots.
Edward A. Cowan
> (Clemens Krauss
> led one cycle in 1956, Knappertsbusch the second of two cycles in 1956.)
The Clemens Krauss cycle is from 1953. Krauss died the following year.
FWIW, Krauss also conducted performances of _Parsifal_ at Bayreuth in
1953. Indeed, the entire 1953 Bayreuth Festival is documented in
recordings: Both _Ring_ cycles (Krauss and Keilberth), _Parsifal_
(Krauss), _Lohengrin_ (Keilberth), and _Tristan und Isolde_ (Jochum).
All of these appeared on LPs, mostly on Melodram. The _Lohengrin_ came
from Decca/London and is now available on Teldec CDs.
-- E.A.C.
TJNORT
>From: eac...@anet-dfw.com (Edward A. Cowan)
>Date: Sat, 18 December 1999 09:00 AM EST
>Message-id: <1e2zzcr.ep...@dalmax2-203.waymark.net>
Thanks for correcting my slip about the date of the Krauss RING, which is one
that I've had for years, first on LPs, later on CDs. I guess I was still
thinking "Knappertsbusch" when I should have been thinking "Krauss".
Curtis Croulet
Karajan Ring. It's wonderful in its way, although for me Siegfried never
really comes to life, but this is related to the downside. I don't want to
diss Dernesch et al too much. These are honest, capable singers, and I
would have been delirious with pleasure if the San Diego Opera had presented
this cast when they did the Ring (spread over four seasons) in the 1970s.
But I compared the end of Karajan's Siegfried with Solti's. Solti's sound
is much more immediate, although many will prefer the more blended sound of
Karajan's recording (but not the gain-riding). More importantly, Nilsson
Brünnhilde walks all over Dernesch's (pace Mr. Roberts). Nilsson sings with
an astounding, freely-produced, ringing, brilliant tone, with a sense of
remaining untapped reserve. Dernesch can' t match it, she just can't. The
difference between Windgassen and Thomas isn't quite so striking, but I'd
still give the nod to Windgassen, because his tone has some ring, and Thomas
has a wide vibrato that to me is annoying. Varnay in the old 1950s Bayreuth
sets has this quality, too, which is why I've never really cottoned to those
cycles. In sum: if you're going to buy one Ring, Solti's is the one to get.