Siegfried [ORIGINAL RECORDING REISSUED]

Richard [Classical] Wagner (Composer), Georg Solti (Conductor), Vienna Philharmonic Orchestra (Orchestra), Birgit Nilsson (Performer), Gerhard Stolze (Performer), Gustav Neidlinger (Performer), Hans Hotter (Performer), Joan Sutherland (Performer), Kurt Böhme (Performer), Marga Höffgen (Performer), Wolfgang Windgassen (Performer)

Product Details

• Performer: Birgit Nilsson, Gerhard Stolze, Gustav Neidlinger, Hans Hotter, Joan Sutherland, et al.
• Orchestra: Vienna Philharmonic Orchestra
• Conductor: Georg Solti
• Composer: Richard [Classical] Wagner
• Audio CD (October 14, 1997)
• SPARS Code: ADD
• Number of Discs: 4
• Format: Original recording reissued
• Label: Decca / London
• ASIN: B0000042H7
• In-Print Editions: MP3 Download
• Average Customer Review: 4.9 out of 5 stars  See all reviews (8 customer reviews)
• Amazon.com Sales Rank: #154,817 in Music (See Bestsellers in Music)

Customer Reviews

Most Helpful Customer Reviews

9 of 9 people found the following review helpful:

5.0 out of 5 stars The 2nd Best of the Solti Ring, April 19, 2003

By	Jim Player (Rochester, NY, USA) - See all my reviews

As any other Ring cycle, Solti's has high and low points, starting at it's apex with "Rheingold" and descending ever so slightly with "Siegfried" and "Götterdämmerung", but sliding distinctly downwards with the heavy handed "Walküre".

The #2 on the scale, "Siegfried" is (I believe) one of the most consistant Wagner recordings ever made. There is a superlative cast, an exciting conductor, and a production team that was in the midst of a huge momentum of pushing the envelope in audio recordings.

The recording problems are now legendary, with Ernst Kozub being the original Siegfried (Windgassen was thought to be too far past his prime to be ideal), but with Kozub not being prepared, Windgassen literally stepped in at the last minute to give a commanding performance.

Windgassen was certainly no Melchior, but he was intelligent and hardworking, got along well with everyone, and the only tenor of his generation to sing all the major Wagner roles year after year. The voice is not heroic, or youthful, but Windgassen brought sensitivity and experience to the studio and created a believable three dimensional character which remains one of the best to date.

The great Hans Hotter gives a commanding performance as the Wanderer. This recording has oft been critisized for Hotter developing a wobble above the staff, but when you consider the variableness of his performances due to respiratory ailments, he is in wonderful voice (he also recorded the famous Bayreuth Parsifal and a highly acclaimed Winterreise that year). For my poor ears, Hotter stands head and shoulders above all others, his sonorous voice conveying an ethereal presence, ancient and world weary, full of vast knowledge and experience.

Gerhard Stolze has the ideal voice for the part....acidic, venomous and tremendously expressive. Unfortunately his excessive histrionics, especially in Act 2 are mar what could have been an ideal performance.

Nilsson is at her peak here. She was ill during the final scene, but sang with steely determination (a bit too steely) but with the famous lightning high notes and lovely pianissimos. She never had the velvety warmth of Flagstad, but her hugely commandinding presence is one that hasn't been seen since her retirement.

All the smaller roles Marga Höffgen as Erda, Neidlinger as Alberich and Dame Joan Sutherland complete a glorious cast of a long lost Golden Age of Wagner.

On the podium is the controversial Solti in what is one of his finest moments on record. He drives the Vienna Philharmonic to a frenzy with hair-raising results, especially for the sword forging, and Act 3 when Siegfried climbs Brünnhilde's Rock, and yet coaxes them to the most exquiset serene beauty (Forest Murmurs and just before Siegfried wakens Brünnhilde).

Siegfried is my favorite Wagner opera, and this glorious recording is the reason. Near perfection!

3 of 3 people found the following review helpful:

5.0 out of 5 stars The forgotten character in "Siegfried"., July 16, 2005

By	R.P. "Aristus" - See all my reviews

All of the reviews above had useful things to say about the Solti/Vienna Philharmonic recording of "Siegfried"; but they forgot to mention one of the most important characters of all: Siegfried's horn, as played by VPO's first chair French horn, Roland Berger. Berger plays the notes of Siegfried's horn calls with such force, power and heroism, that one can truly believe they are actually winded by the demi-god Siegfried. That Berger played the session tired, sick and out-of-sorts makes one wonder how truly beautiful and grand the horn calls might have been if he had been in the top of his form; as they are recorded, they are simply beyond compare.

Several reviewers have complained of Hans Hotter's voice in this recording. I have no such complaints. Simply listen to passages like "Er steht oder fall..." and you will hear the voice of a god. It is transporting. Enough said. "Siegfried" and "Rheingold" are my two favorite Wagner operas. You must experience them.

3 of 3 people found the following review helpful:

4.0 out of 5 stars A very good Siegfried, August 22, 2000

By	"cdsullivan" (Cambridge, Massachusetts United States) - See all my reviews

This "Siegfried" is one of the high points of Solti's Ring. Solti is more relaxed and lyrical than usual, the Vienna Philharmonic produces beautiful tone, and the cast is mostly excellent.

Wolfgang Windgassen is past his prime as Siegfried and isn't quite heroic enough for Siegfried, but that matters far less on record than it would in the theater, and he gives an inspired interpretation of the part. He was THE Siegfried of the 50's and early 60's. Stolze's Mime is controversial because of his rather ugly voice, but it provides a sharp contrast with Windgassen and his interpretation of the role is unsurpassed. He is even better, though, on the Karajan DG set, where his Mime is not so caricatured and is more direct. Hotter is in gorgeous voice and sings Wotan with a majesty and dignity that has disappeared in recent times. Neidlinger, as always, is a magnificent Alberich. Böhme is a good Fafner, Höffgen as Erda is a huge improvement over Madeira (who sings the same role in "Rheingold"), and Sutherland's Woodbird (luxury casting at the extreme!) is predictably excellent. Nilsson throws off some thrilling high C's, but I personally prefer Brünnhilde to have a warmer, more lyrical voice, like Helga Dernesch's singing for Karajan. I think Karajan's recording (DG Originals 457 790-2) is the best there is, and at mid price is a real bargain. Overall, though, this Solti is an excellent recording and well worth getting (though Decca should find a way of reducing the price).