Customer Reviews

Die Walkure

5 star:		(3)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Christoph von Dohnanyi's superlative Cleveland Orchestra had embarked on a magnificent showcase -- Wagner's Ring Cycle -- when indifferent reviews lead to poor sales and then to Decca/London's cancelling the cycle halfway through. It's a tragic mistake, because in this Wagner you can hear Schubert and Mendelssohn and Weber as much as Bruckner and Strauss and Berg; the clarity and nuance are welcome, the pace forward looking without being headstrong. Orchestrally, this version is special, but vocally it's not to be dismissed, either. Gabriele Schnaut disciplines her ample though often unruly instrument, and it does the soul good to hear a LOUD Brunnhilde again (after Behrens and Evans, etc.). Both Hale as Wotan and Elming as Siegmund show great promise, though the former may be a mite callow for this dramatically demanding role. Marc delivers a voluptuous Sieglinde, a role that suits her better than, say, her overparted Elektra, and Silja (the conductor's wife), a resourceful vocal actress, is Fricka. (There were complaints that she wasn't youthful enough; I don't remember hearing them when Flagstad tackled the role at the end of her life.) All in all, it's at least a good a cast as has been assembled since Solti's ring from the 1960s. It's to be regretted that Dohnanyi's Siegfried and Gotterdammerung will not be committed to disc.

Christoph von Dohnanyi's Cleveland Orchestra has never gleamed more luminously than in this showpiece recording (sadly, Die Walkure will be the final segment of the Cleveland Ring; bad sales caused Decca to scuttle it halfway through). Throughout, the conductor -- a "come scritto" stickler -- coaxes transparent textures and magically balanced orchestral strands from his players. It's a refreshing change from the big, bean-soup Wagner so long in favor, and a valid interpretation. True, there have been better casts, but this one is not half bad (and at least as good as any that has been assembled since the mid-1960s): Gabriele Schnaut at least delivers some vocal heft for her Brunnhilde, a quality that's been sadly lacking since Nilsson left the stage. Silja (Dohnanyi's wife) is a great singing actress; her Frica is memorable. Hale, Emling and Marc aquit themselves well. Snap up Dohnanyi's Rheingold and Walkure: their true value will be recognized someday soon, and its decision to cancel this Ring will redound as one of Decca/London's most grotesque goofs.

I agree with those who think Decca have been so foolish as to cancel this Ring half way through. What do they want? This is a major recording of the piece, with a strong cast of individual singers who appear to be singing at their best with a conductor who is giving us his well thought out, well schooled interpretation of the piece. A large scale, overall view of the work, of the type I never thought to hear in these days.

I ask again: What did Decca expect? Christoph von Dohnanyi is not some operatic flash in the pan whizz kid, [I certainly wouldn't buy his recordings if he were] but a mature musician with a larger following than Decca realises. This Ring would have been a best seller given time. I think maybe OPERA is getting TOO popular and that recording companies have unrealistic expectations.

Considering that Ernst von Dohnányi is not the conductor that Mr. Dan Davis refers to in his review which amazon has put on the internet as its officail review - the review is quite good. The conductor's name is CHRISTOPH VON DOHNANYI whose approch from theater's side and dramatic qualities and a profound understanding for clear language (he is German) is absolutely delightful on this recording.

It must be counted as one of the really great scandals that DECCA did not fulfill their project with this Ring. It is diffferent from other Rings and it depends on the conductor and orchestra. Transparent as Karajan, dramatic as Böhm, and - with first class orchestra and singers. Gabriele Schnaut is a convincing Brünnhilde with a true Wagner authority and the casting of Anja Silja as Fricka a triumph. Try to buy this set when you can! It can soon be out of stock forever.

I only can repeat what obviously is a fact: it was a big mistake that DECCA cancelled this RING Cycle after two operas recorded with a really excellent cast and to be supposed a big deal after Soltis Cycle in the 60ies. As it was no deal (in the financial meaning) it was stopped! So music and art had to go ... What a pity!

The Clevland orchestra give one of the finest orchestral performances of Wagner playing on record and are supported to the hilt by Decca engineers who accurately balance the voices within a warm sound stage. Dohnanyi does not play to the gallery and his conducting is vastly superior to Solti's hysterical and somewhat unpleasant take on the Ring. Dohnanyi's Act 3 for instance builds slowly to a thunderous crescendo as Wotan appears. However I missed the sheer passion and command of the emotional line that Furtwangler brings to Walkure( EMI VPO, 1954).

Marc and Elming are impressive as the incestuous lovers. Marc sometimes scoops to notes but often with thrilling effect. Frika sounds too old to be married to Hale's Wotan. Hale is intelligent and dramatic but lacks the sheer authority of Hotter or Tomlinson. Schnaut's Brunnhilde convinces as the errant daughter of a god and some of her singing is very exciting. Yet her unsteadiness is intrusive at times and I cannot belive that Decca cound not have found a better Brunnhilde. Her occasional wobble is far less a problem than that of Behrens for Levine. I do not believe Schnaut could begin to match the rich steady and majestic sound of Modl, Varnay or Flagstad in the Immolation scene.

If only Decca had recast rather than scrapped this project. For the sake of the wonderful Cleveland Orchestra at least.