Richard Wagner: Highlights from The Ring

On this CD:

1. Die Walküre (The Valkyrie), opera, WWV 86b Act II Ride of the Valkyries
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

2. Die Walküre (The Valkyrie), opera, WWV 86b Act II Ride of the Valkyries
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

3. Die Walküre (The Valkyrie), opera, WWV 86b Act II Magic Fire Music
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

4. Siegfried, opera, WWV 86c Act II Forest Murmurs
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

5. Siegfried, opera, WWV 86c Act II Forest Murmurs
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

6. Das Rheingold (The Rhine Gold), opera, WWV 86a Invocation of Alberich and Entrance of the Gods into Valhalla
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

7. Das Rheingold (The Rhine Gold), opera, WWV 86a Invocation of Alberich and Entrance of the Gods into Valhalla
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

8. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Prologue: Dawn and Siegfried's Rhine Journey
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

9. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Prologue: Dawn and Siegfried's Rhine Journey
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

10. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Act III: Siegfried's Funeral Music
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

11. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Act III: Siegfried's Funeral Music
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

12. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Act III: Immolation Scene (Finale)
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

13. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Act III: Immolation Scene (Finale)
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

14. Tristan und Isolde, opera, WWV 90 Liebestod
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

15. Tristan und Isolde, opera, WWV 90 Liebestod
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Eugene Ormandy

Tracks:

The Nibelung's Ring: The Rhinegold: Scene 1: 'Lugt, Schwestern! Die Weckerin lacht in den Grund' (Alberich)
The Nibelung's Ring: The Rhinegold: Scene Four: 'Zur Burg fuhrt die Brucke' (Wotan, Fricka, Loge)
The Nibelung's Ring: The Valkyrie: Act One: 'Der Manner Sippe sass hier im Saal' (Sieglinde)
The Nibelung's Ring: The Valkyrie: Act Three: (The Ride Of The Valkyries) 'Hojotoho! Hojotoho!'
The Nibelung's Ring: The Valkyrie: Act Three: 'Der Augen leuchtendes Paar' (Magic Fire Music) (Wotan)
The Nibelung's Ring: Siegfried: Act Two: 'Aber, wie sah meine Mutter wohl aus?' (Forest Murmurs) (Siegfried)
The Nibelung's Ring: Siegfried: Act Two: 'Nun sing! Ich lausche dem Gesang' (Siegfried, Woodbird)
The Nibelung's Ring: Siegfried: Act Three: 'Heil dir, Sonne! Heil dir, Licht!' (Brunnhilde, Siegfried)
The Nibelung's Ring: Twilight Of The Gods: Act Three: (Funeral March)
The Nibelung's Ring: Twilight Of The Gods: Act Three: 'Fliegt heim, ihr Raben!' (Brunnhilde)

Customer Reviews:

Right For The Money.......2006-06-27

I've had this cd for as long as I can remember and love it. Some compilations want $30 and up for a Wagner opera, but this has it all condensed into one cd and it's both beautiful and inexpensive.

Lovely moments from a disappointing Ring.......2005-10-07

Levine's Ring cycle was severely handicapped from the start by having no real siegfried and a Brunnhilde who is very musical but lacking a true Brunnhilde voice. Levine worked around these deficits, as every conductor since the heyday of Nilsson has had to do, with excellent musicianship and the wonderful MET Orchestra. HIs sound for Wagner is leaner than Solti's--one gets the feeling of an opera orchestra, not a huge symphony orchestra.
The cycle also suffered from Levine's extremely leisurely pace, which seems slack rather than profound.

That said, DG has made a silk purse of of half a sow's ear. These excerpts show off the best in Levine's approach and skirt the worst. One would have liked to hear much more of James Morris's Wotan, since he was by far the star of the show. Hildegard Behrens is heard to good effect in the Immolaiton Scene that ends the cycle, as well as the Awakening Scene from Siegfried. The orchestral excerpts are gorgeously played, and even though I would not rank any single opera from Levine's Ring as the best on record, this "compact Ring" is excellent on its own.

A good introduction.......2005-08-08

A solid, well-rounded compilation of highlights from Richard Wagner's musically sublime, vocally gargantuan, and dramatically unsurpassed Der Ring des Nibelungen is a rare find. Deutsche Grammophon released a two-disc set of highlights from Karajan's Ring Cycle through its Panorama collection; Philips released a similar set from Karl Böhm's glorious live 1966-67 Bayreuth recordings. This collection of highpoints from James Levine's late-1980s/early-1990s rendering of the operatic epic through the Metropolitan Opera is not as successful. This is indeed a shame, for Levine masters Wagner's scores with surprising versatility; he crafts a fairly slow, precise, but deeply moving and rewarding musical portrait of the composer's Rhineland of yore which sparks more than a few memories of the most highly regarded studio recording of the four operas: Sir Georg Solti's (and, for all intents and purposes, producer and innovator John Culshaw's) and the Wiener Philharmoniker's triumph on Decca.

What results is a compelling but not overwhelming exhibition disc for James Morris and Hildegard Behrens, the former as a gravelly, sonorous Wotan, and the latter as a svelte, willowy Brünnhilde. Morris is certainly superior to the archaic, defeated Hans Hotter of Solti's Die Walküre (and, arguably, Theo Adam in Böhm's and Thomas Stewart in Karajan's) during his farewell to Brünnhilde ("Der Augen leuchtendes Paar"). Behrens is no Nilsson (nor a Dernesch, nor a Crespin) but she is, nonetheless, a very lovely Valkyrie, both in the Awakening Scene ("Heil dir, Sonne! Heil dir, Licht!") and in the Immolation Scene ("Fliegt heim, ihr Raben!"). Reiner Goldberg is competent as Siegfried in the Waldweben ("Aber, wie sah meine Mutter wohl aus?"), but he is far removed from the realms of Wolfgang Windgassen and Jess Thomas. Jessye Norman is a mature but lyrically radiant Sieglinde. Kathleen Battle supplies her sugary, enchanting tone for the small but potent role of the Woodbird. Siegfried Jerusalem makes a brief appearance as Loge (in a definitely less caricatured capacity than Gerhard Stolze). Mark Baker is a plain but virile Froh. Hei-Kyung Hong, Diane Kesling, and Meredith Parsons are particularly harmonious as the Rheintöchter.

However, the rest of the soloists are barely nonexistent. Christa Ludwig is insultingly truncated as Fricka. Ekkehard Wlaschiha's Alberich (which rivals the interpretations of Gustav Neidlinger and Zoltan Kélémén) is heard only twice. Matti Salminen's Hagen is limited to a sole outburst of "Zurück vom Ring!" Other noted performances from Levine's Ring are deleted entirely: Heinz Zednik's slimy but very human Mime, Kurt Moll's baleful Hunding, Cheryl Studer's Gutrune, and Bernd Weikl's Gunther.

In spite of everything, this "compact Ring" is an item to have simply for Levine's presentation of the Walkürenritt ("Hojotoho! Hojotoho!"). The Metropolitan Opera Orchestra is in superb form and the eight furious, calamitous voices of Wotan's battle maidens (supplied by Marita Napier, Linda Kelm, Reinhild Runkel, Ruthild Engert, Marilyn Mims, Anne Wilkens, Kesling, and Parsons) mesh in a tapestry of thunderous doom and emotion.

Incredible. Levine/Met is the Wagner to buy........2005-02-05

I have the complete Ring cycle from which these highlights are taken. Chances are if you're browsing Wagner recordings you're already aware of how powerful and profound "Der Ring" is, so I'll just say what you want to know: BUY THIS CD. No other Wagner CD I've heard comes close. Usually I disagree with at least some tempo or phrasing choices of even the most famous conductors, but I must bow to Levine on this one. Not once did I ever think that I would've made a different choice, allowing me to become completely immersed in the music. For a classically trained musician like myself, this is no small feat since I've been conditioned to analyze what I hear almost automatically. The fact that these recordings are so good that they make me forget about mechanics makes this not only of the best Wagner recordings I have but one of the best classical CDs I own, period.

NOTE: If you like this CD, then trust me--just buy the whole "Ring" set conducted by Levine. It's expensive (over $100), but it's 14 CDs and one of the best musical investments you'll ever make.

Great driving music.......2004-12-29

I have seen the Ring Cycle a couple of times live over the years. I also have the videos and some lengthy recordings. So periodically I refresh my self with the story. However I find "The Compact Ring" fun fro listing to in the car. As with any copulation it is someone else's idea of the highlights. But it comes close enough for me. And what is on the CD is excellent.
This also makes a good introduction.

Average customer rating:

A substantial overview of Karajan's Ring
Where is Karajan's Ring on amazon?
not an introduction to The Ring
A wonderful introduction, or a new experience
good introduction

Highlights from Der Ring des Nibelungen

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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An Introduction to Der Ring des Nibelungen

ASIN: B00004XT2G
Release Date: 2001-02-27

Tracks:

The Rhinegold: Lugt, Schwestern! Die Weckerin Lacht in Den Grund - Helen Donath/Edda Moser/Anna Reynolds/Zoltan Kelemen
The Rhinegold: Nur Wer Der Minne Macht Ensagt - Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Der Welt Erbe Gewann Ich Zu Eigen Durch Dich - Zoltan Kelemen/Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Haltet Den Rauber! - Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Hor, Wotan, Der Harrenden Wort! - Karl Ridderbusch/Dietrich Fischer-Dieskau/Martti Talvela/Simone Mangelsdorff
The Rhinegold: Schwester! Bruder! Rettet! Helft! - Simone Mangelsdorff/Donald Grobe/Robert Kerns/Gerhard Stolze/Josephine Veasey
The Rhinegold: Wotan, Gemahl, Unselger Mann! - Josephine Veasey/Dietrich Fischer-Dieskau/Gerhard Stolze/Robert Kerns/Donald Grobe
The Rhinegold: (Transformation Music) - BPO/Herbert Von Karajan
The Rhinegold: Zur Burg Fuhrt Die Brucke - Donald Grobe
The Rhinegold: Abendlich Strahlt Der Sonne Auge - Dietrich Fischer-Dieskau
The Rhinegold: So Gruss Ich Die Burg - Dietrich Fischer-Dieskau/Josephine Veasey/Gerhard Stolze
The Rhinegold: Rheingold! Rheingold! - Helen Donath/Edda Moser/Anna Reynolds/Dietrich Fischer-Dieskau/Gerhard Stolze
The Valkyrie: Der Manner Sippe Sass Hier Im Saal - Gundula Janowitz/Jon Vickers
The Valkyrie: Wintersturme Wichen Dem Wonnemond - Jon Vickers
The Valkyrie: Du Bist Der Lenz - Gundula Janowitz
The Valkyrie: O Susseste Wonne! Seligstes Weib! - Jon Vickers/Gundula Janowitz
The Valkyrie: War Walse Dein Vater, Und Bist Du Ein Walsung - Gundula Janowitz/Jon Vickers
The Valkyrie: Siegmund, Den Walsung, Siehst Du, Weib! - Jon Vickers/Gundula Janowitz
The Valkyrie: (The Ride Of The Valkyries) - BPO/Herbert Von Karajan
The Valkyrie: Leb Wohl, Du Kuhnes, Herrliches Kind! - Thomas Stewart
The Valkyrie: Der Augen Leuchtendes Paar - Thomas Stewart
The Valkyrie: Loge, Hor! Lausche Hieher! - Thomas Stewart
The Valkyrie: (Magic Fire Music) - BPO/Herbert Von Karajan

Tracks:

Siegfried: Dass Der Mein Vater Nicht Ist - Forest Murmurs - Jess Thomas
Siegfried: Nun Sing! Ich Lausche Dem Gesang! - Jess Thomas/Catherine Gayer
Siegfried: Prld To Act III. - BPO/Herbert Von Karajan
Siegfried: Wache, Wala! Wala! Erwach! - Thomas Stewart
Siegfried: (Brunnhilde's Awakening: Intro) - BPO/Herbert Von Karajan
Siegfried: Heil Dir, Sonne! Heil Dir, Licht! - Helga Dernesch/Jess Thomas
Siegfried: Siegfried! Siegfried Seliger Held! - Helga Dernesch/Jess Thomas
Twilight Of The Gods: (Orchestral Interlude) - BPO/Herbert Von Karajan
Twilight Of The Gods: Zu Neuen Taten, Teurer Helde - Helga Dernesch
Twilight Of The Gods: Mehr Gabst Du, Wunderfrau, Als Ich Zu Wahren Weiss - Helge Brilioth/Helga Dernesch
Twilight Of The Gods: (Siegfried's Rhine Journey) - BPO/Herbert Von Karajan
Twilight Of The Gods: (Funeral Music) - BPO/Herbert Von Karajan
Twilight Of The Gods: Starke Scheite Schichtet Mir Dort - Helga Dernesch
Twilight Of The Gods: Mein Erbe Nun Nehm Ich Zu Eigen - Helga Dernesch
Twilight Of The Gods: Fliegt Heim, Ihr Raben! - Helga Dernesch
Twilight Of The Gods: Conclusion 'Zuruck Vom Ring!' - Karl Ridderbusch

Customer Reviews:

A substantial overview of Karajan's Ring.......2007-07-11

One could debate for a brief eternity which conductor should be labeled "the best." Numerous magnanimous interpreters come to mind: Gustav Mahler, Arturo Toscanini, Otto Klemperer, Carlos Kleiber, Karl Böhm, Herbert von Karajan, Sir Georg Solti, Claudio Abbado, Pierre Boulez, Daniel Barenboim, Giuseppe Sinopoli, and James Levine are just a potpourri of renowned orchestral masters. Toscanini and Karajan were probably the most influential in redefining the nature in which one should approach a piece of music; both insisted that traditional conducting, in which a piece was essentially performed in the same manner continuously, was neither healthy nor appropriate for the music in question and, they laid the foundation for conductors to develop their own characteristic conducting and interpretative styles.

One now comes to Richard Wagner, often considered the master of Romantic music and one of the definitive composers to ever set foot on the soil of this planet. If one were to painstakingly evaluate the two conductors' collective Wagnerian works, one would most likely come to the conclusion that Hungarian-born Sir Georg Solti was a "more perfect" Wagnerian conductor than the Austrian musical megalomaniac Herbert von Karajan. Solti's style of conducting, which lent itself to the works of Ludwig van Beethoven, Mahler, and Richard Strauss, was obviously within the atmosphere of Wagner, and his John Culshaw-produced rendering of Der Ring des Nibelungen can easily be considered one of the greatest achievements in modern recorded sound. Nonetheless, Karajan's brilliance came not from his ability to conduct Wagner perfectly, as one might arguably suggest for Solti, but rather from his ability to approach every composer with a certain level of comfort and singularity while simultaneously retaining his format of interpretation. Karajan was just as comfortable with the works of Johann Sebastian Bach and Wolfgang Amadeus Mozart as he was with Jean Sibelius and Arnold Schoenberg, and his expertise transcended every medium, from choral works and masses to symphonies to operas to concerti. It was also his singular smoothness, his uncanny ability to gloss and refine the roughest and most vulgar of music (which, occasionally, in a work such as Carmen, had a derogatory effect) which made his Wagnerian music so spectacular a beacon and link within the chain mail of the musical world.

This is the reason why this recording of Der Ring des Nibelungen features what critics have called a "chamber music approach" to the Wagner score; Karajan dissected the music (as he did with everything he conducted) and took every measure to present, at all times, the beauty inherent in the music, even at the most violent and explosive instances. No fault is obvious in this, and with the operas of Rossini or Donizetti, no problem would have occurred; however, with Wagner, placing too burdensome an emphasis on beauty could, possibly, have an acidic effect on the overall drama of the work. This became an almost debilitating fault near the end of his illustrious career, but here the results are stunning. Karajan's interpretation is not sluggish (by the standards set by Solti, it is actually fairly brisk) and the orchestral performance from the imperial Berliner Philharmoniker is beyond betterment.

Thus, one must wonder why this recording of the Ring Cycle, with arguably the best conductor in the world leading one of the finest groups of musicians ever assembled, is frequently dogged by critics as weak and woefully idealistic. The answer lies in Karajan's casting which is, overall, inferior to Solti's. However, jewel-bedecked performances can be found in Karajan's cast with which Solti's cannot compete. Jon Vickers and Gundula Janowitz bring new definition to the twins Siegmund and Sieglinde. Operatic roles may have existed which Vickers did not perfect, but those which he performed (Peter Grimes, Samson, Tristan, Aeneas, Otello, Don José) were forever standardized by his interpretation. Siegmund is no exception, and though James King was a golden-toned, amorous youth on the Solti Die Walküre, Vickers is mightily Zarathustran and gloriously introspective during "Winterstürme wichen dem Wonnemond." Janowitz, who could make the harshest, most brutal German phrases drip with the smoothness and creamy elegance of French, brings radiance and gleaming simplicity to her Sieglinde which no other soprano could dare attempt. Their ecstatic, and eventually orgasmic, love duet ("Du bist der Lenz" ... "O süsseste Wonne! Seligstes Weib!" ... "Siegmund, den Wälsung, siehst du, Weib!") may be the greatest moment of Karajan's entire Ring Cycle.

The character of Wotan, the ruler of the gods, should, theoretically, be performed by a commanding, sonorous bass-baritone such as George London, Hans Hotter, Theo Adam, or James Morris, the most superb modern Wagnerian baritone. However, Dietrich Fischer-Dieskau, who was so praised for his vocal delicacy and aristocratic gentility, is surprisingly successful as the ambitious god whose ageless wisdom was blinded by his opulent rapaciousness in Das Rheingold. Fischer-Dieskau was often fussy and blusterous on the operatic stage, but brief instances of vocal waywardness are often excusable through Wagner, and he will have no difficulty pleasing the most caustic critic during his wondrous musing as the gods enter the celestial fortress of Valhalla ("Abendlich strahlt der Sonne Auge...So grüss ich die Burg"). Thomas Stewart, a severely under-recorded American baritone, excels as Wotan in Die Walküre and Siegfried. Wotan's eminent farewell to Brünnhilde in Die Walküre ("Leb wohl, du kühnes, herrliches Kind!...Der Augen leuchtendes Paar") could easily buckle many baritones; Stewart, however, sings with unfettered passion and mournful abandonment as the pained father. He is less thrilling (due to the context of the music, not his voice) in his conjuring of Erda in Siegfried ("Wache, Wala! Wala! Erwach!").

Gerhard Stolze, the consummate character singer, is not featured on this set of highlights as Mime, Alberich's toiling, gnomish brother, in Siegfried; his unique caricature of Loge in Das Rheingold is inserted instead. Loge, the mischievous demigod of fire, is a part usually performed by a heldentenor, such as Wolfgang Windgassen, Set Svanholm, or Siegfried Jerusalem, and for those strictly concerned with vocal beauty, these singers would be highly appropriate. However, for those seeking a more burlesque, stupendously acted performance (merely listen as he warns the gods not to enter Valhalla ["Ihrem Ende eilen sie zu"]), Stolze is perfectly idiomatic and certainly does not "bark" his lines, though he is occasionally criticized for doing so. Hungarian bass-baritone Zoltan Kélémén's career began, for the most part, with Karajan casting him as Alberich. The most inimitable interpreter of the dwarf fiend was Gustav Neidlinger; his Alberich was explosively, thunderously vindictive, a Caligulan nemesis. Kélémén's Alberich was a twisted, grisly deuce, and though he may have lacked the vocal robustness of Neidlinger (and the malignant guffaw), his retort against the mocking of the Rheintöchter ("Der Welt Erbe gewänn ich zu eigen duch dich") is a petrifying outburst. Helen Donath, Edda Moser, and Anna Reynolds are the most perfectly tuned Rheintöchter available on disc. No other trio can compare with their beguiling chatter in the first scene ("Lugt, Schwestern! Die Weckerin lacht in den Grund") nor with their wrathful longing in the finale ("Rheingold! Rheingold! Reines Gold!"). Liselotte Rebmann, Daniza Mastilovic, Ingrid Steger, Lilo Brockhaus, Carlotta Ordassy, Barbro Ericson, Cvetka Ahlin, and Helja Jenckel are similarly victorious during the Walkürnritt ("Hojotoho!"), which is sure to conjure an image of helicopters napalming seaside Vietnamese villages vis-à-vis Francis Ford Coppola or hellish, armed and armor-bedecked maidens soaring about on flying horses.

Josephine Veasey possessed an elegant, matronly tone which was perfectly suited for Fricka, Wotan's bickering wife, the goddess of marriage. Donald Grobe, a Karajan regular, is insipid but secure as Froh in his brief monologue ("Zur Burg führt die Brücke"). Martti Talvela and Karl Ridderbusch (another Karajan regular) shared the four main bass roles in the saga: Fasolt, Fafner, Hunding, and Hagen. Talvela is noted as one of the most sympathetic Fasolts on record; one must wonder how Talvela, the gargantuan Finnish bass, could not be suitable as a giant in any opera. His performance is woefully truncated here, alas. His Hunding, which was surely brutish and bovine, is not heard at all. The iniquitous villain Fafner's greatest moment comes not in Das Rheingold as the bellowing lummox but in Siegfried as the leering, yawning dragon; this is also left out of the collection. Ridderbusch's performance as Hagen, often heralded as one of his finest, is represented here by little more than his final outburst of "Zurück vom Ring!" After Dame Joan Sutherland's "cameo" appearance as the Waldwogel in Sir Georg Solti's Siegfried, all other performances are bound to fall short. Nonetheless, Catherine Gayer is notably lovely and chirpy.

Most criticism concerning the soloists is invested in insulting Jess Thomas, Helga Dernesch, and Helge Brilioth. Thomas, a regal Lohengrin and Tannhäuser in his youth, has forever been the recipient of spiteful banter reviling his performance as Siegfried in the third opera of the cycle. It is true that Windgassen owned the role in much the same way that Birgit Nilsson was the executor of Brünnhilde (after Flagstad and Varnay); however, their performances were sublime in the locality of their vocal precision and dramatic prowess, which were sublime. In the sector of vocal attractiveness (which is, one must concede, Karajan's principal area of focus), Windgassen fell short of the golden-throated Thomas, and Nilsson's steely voice, though it possessed its own rampageous eroticism, was also inferior to Helga Dernesch's richer and milder tone. As examples, Thomas is marvelous during the darkly impressionistic, meandering Waldweben ("Dass der mein Vater nicht ist"); Dernesch is ravishing in the Awakening Scene ("Heil dir, Sonne! Heil dir, Licht! ... Siegfried! Siegfried! Seliger Held!") and in the apocalyptic finale of Götterdämmerung ("Starke Scheite schichtet mir dort...Fliegt heim, ihr Raben!"). Poor Brilioth is often criticized for simply sounding dull and inadequate as Siegfried in Götterdämmerung, and one must concede that it would have been more prudent for Karajan to cast Windgassen. [Régine Crespin, who is not featured on this collection, performed Brünnhilde in Die Walkure. This had mixed results, for most held her performance as the Valkyrie in juxtaposition to her gorgeous interpretation of Sieglinde on the Solti recording. I, personally, found her Brunnhilde delightfully witty and humane.]

Perhaps the greatest fault of this collection of highlights is that it is what it is: a collection of excerpts. Der Ring des Nibelungen is an expansive masterpiece which is not suitable for a two-disc collection of noteworthy tracks. This compilation, nevertheless, is indeed superb (as are most Deutsche Grammophon/Panorama releases), as is the set of highpoints from Karl Böhm's Ring Cycle, released through Philips. One should, by all means, disregard the hateful criticism placed upon Karajan's work here. It is not his finest, but it is Karajan, and his worst level is a pinnacle of excellence which most conductors can only hope to achieve, particularly in a Wagnerian sphere.

Where is Karajan's Ring on amazon?.......2005-09-05

I can't find any of the four Ring operas here at amazon.com. This is very peculiar, but in case you, too, are looking for them, I can say that the Rheingold and Die Walkure are superb, but the Siegfried is vocally a catastrophe, beginning with the woeful Jess Thomas in the title role, and the Gotterdammerung is hampered by an inedequate Siegfried and a not veyr inspired dernesch as Brunnhilde. DG has remastered them all at mid-price, and the mid-Sixties analog sound was good to begin with.

not an introduction to The Ring.......2005-04-18

This is absolutely the best "highlight" collection out there -- no others come close to the range and depth of material provided. But beware, this is not an "introduction to The Ring", as some claim -- the notes are skimpy, the titles of the excerpts are untranslated, there is no libretto, no description of the excerpts -- their context or meaning -- so what you have is a great summary of the works -- one that is most useful if you already know them -- something to take along with you in the car or while jogging or walking the dog to remind you of the real thing. Bear in mind that whatever the deficiencies of this collection, the others have the same faults also.

A wonderful introduction, or a new experience.......2004-02-14

Admittedly, it is a daunting task to try to "get into" opera, and even more so with Wagner's Ring. This CD is perfect for the beginner and the more experienced listener for various reasons. First of all, it spoils you somewhat in presenting you with the best pieces of the various operas. These "bleeding chunks" certainly give you a wonderful introduction to the various motifs, and most importantly, are very long pieces. The CD manages to capture several of the different flavors present in Wagner's opera.

Secondly, the CD is worth its price mainly due to Karajan's conducting. After listening to Solti's version of the Ring (also wonderful), I was suprised by the subtle hints he seems to charge through. You can literally hear the galloping of the horse, or subtle musical hints which add a great appreciation and character to the opera. Thus, if you have experienced several other conductors, but have not had the pleasure of Karajan, it would be worth the price.

Unfortunatly, some of the singing is kinda weak. Again, after Solti's Valkyries, you will have a hard time getting into the singing. And again, Karajan's Brunhilde isn't as strong as Solti's, but she still holds her own. Loge, here, sounds like a trickster (though he does sing/speak his words), and the Wotan's are alright.

In conclusion, this is perfect if you want to add flavor to your Wagner listening experience, or just want to know what the big deal is. I, of course, suggest getting one of the DVD's to get the big picture of what is going on (Levine's MET is a good start). So buy and enjoy.

good introduction.......2002-06-11

this is a good way to see why it is worth getting the full Der Ring opera--all 15 CDs! having just the highlights shows you the power and majesty of Wagner's music, but skips the depth and true emotion you get out of listening to the whole opera.

Average customer rating:

My first Wagner CD and it remains a favourite
Wagner for the rest of us
A soundtrack for heroes
a hit and miss affair
this one is a hit and miss

Wagner: Highlights from "The Ring"

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Release Date: 1990-10-25

Tracks:

Das Rheingold: Entrance Of The Gods Into Valhalla
Die Walkure: The Ride Of The Valkyries
Die Walkure: Magic Fire Music
Siegfried: Forest Murmurs
Gotterdammerung: Dawn & Siegfried's Rhine Journey
Gotterdammerung: Siegfried's Funeral Music
Gotterdammerung: Brunnhilde's Immolation Scene

Customer Reviews:

My first Wagner CD and it remains a favourite.......2006-07-10

I got this 16 years ago and it was my very first Wagner CD.

Now I have a large number of Wagner CDs but this remains a favourite.

There are many arrangements of Ring excerpts around, but this has the best versions, in my view, especially for Dawn & RJ.

Mehta's pacing is excellent, particularly for the Goetterdaemmerung tracks, and the sound is superb: so much detail is revealed very clearly.

The Immolation Scene with Caballe was recorded separately (the stereo placing is clearly different from the others) and she is nothing like a Nilsson, but it's OK.

So, overall, a wonderful introduction to some of the key Highlights of the Ring.

Wagner for the rest of us.......2005-02-10

This CD gives you some of the best highlights of Wagner's "Ring" and includes some powerful vocals, but the emphasis remains with the dramatic symphonic music. The entrance into Valhalla and the Ride of the Valkyries are obviously going to be the favorites of guys like me who like Wagner, but don't like Wagner every day. Like cheesecake, Wagner is not meat and potatoes music, it is pure dessert, gushing with cream and carmel sauce.

Though not an opera officianado, I really enjoyed Brunhilda's Immolation scene in this CD. The dramatic ending to the Ring is one of the greatest musical accomplishments in the history of music.

A soundtrack for heroes.......2001-02-04

I will begin by saying that I am not an opera fan and did not buy this album for the vocal parts. For anyone who is interested in the quality of the vocals, they should read the other reviews. The power of this music is incredible on this album. The "Entrance" is stirring. Of course, one cannot help but wave imaginary spears about as they hear the Ride of the Valkyries. Mehta conveys all the power of Wagner through his conducting. Instead of playing fortissimo throughout the movement, he employs more convinving dynamic variations. These dymamics are most evident in Mehta's interpretation of Siegfried's Funeral Music. He does not overplay the beginning, but allows the orchestra to state the important themes with all the appropriate grace and grandeur. He brings the orchestra down low, then stuns the listener with the staccato notes of Siegfried's murder. Mehta then presents a heroic climax that does not disappoint. As I said, I am no fan of opera. I purchased this album for the orchestral pieces. Mehta and the NYPO are hard to beat, and I would recommend this album to anyone who wants a first-rate Wagner highlight album.

a hit and miss affair.......2000-06-19

Most of the items on this recording are very well done and recorded, but regrettably the CD is let down by Caballe's peformance in the Immolation Scene. I am an admirer of her work as many others are, but find her German is not very idiomatic (one could make the same observations about Dietrich Fischer-Dieskau's Italian), and she does not sing the top notes cleanly but scoops them from below instead. In this price range you could do better with the Bohm, Solti, or Karajan - or perhaps Szell best of all - highlights recordings.

this one is a hit and miss.......2000-06-13

The orchestral playing and conducting is good but not particularly memorable. I would not rank it equal to that of Szell with the Cleveland Orchestra. Wimsberger in the Farewell is decent but not great, and Caballe is regrettably not successful in the Immolation Scene. She scoops the top notes from below rather than singing them cleanly, and her German diction is suspect too. Although I admire many of her other recordings, I do not play this one frequently. Good sound quality and documentation. Probably indispensable for Caballe fans, for better or worse. At this price range I would choose instead the Szell, Solti, Karajan or Bohm (on 2CDs) highlights recordings from the complete operas.

Basic 100, Volume 59: Richard Wagner [Highlights From The Ring Of The Nibelung]

Average customer rating:

Basic 100, Volume 59: Richard Wagner [Highlights From The Ring Of The Nibelung]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | 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
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ASIN: B000003FUP
Release Date: 1995-03-14

Richard Wagner: Highlights from The Ring

Average customer rating:

just highlights, but good

Richard Wagner: Highlights from The Ring

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

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
ASIN: B000003FKR
Release Date: 1994-01-18

Tracks:

Die Walkure: Act II : Ride Of The Valkyries
Die Walkure: Act II : Magic Fire Music
Siegfried: Act II : Forest Murmurs
Das Rheingold: Invocation Of Alberich And Entrance Of The Gods Into Vallhalla
Gotterdammerung: Prologue : Dawn And Siegfried's Rhine Journey
Gotterdammerung: Act III : Siegfried's Funeral Music
Gotterdammerung: Act III : Immolation Scene (Finale)
Tristan und Isolde: Liebestod

Customer Reviews:

just highlights, but good.......2002-06-11

these are just highlights from Der Ring, and while not the best recordings--Solti's are far better--i give this five stars for Forest Murmurs. that is soo well done that it deserves five stars no matter how terrible the rest are.

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Music Review

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