Customer Reviews

Wagner - Der Ring des Nibelungen / Patrice Chéreau - Pierre Boulez, Bayreuth Festival (Complete Ring Cycle)

5 star:		(38)
4 star:		(8)
3 star:		(1)
2 star:		(0)
1 star:		(3)

 

 

No sound recording of the Ring is perfect, and with filmed recordings, there is even more to object to or defend. For a first ever release of any complete Ring on DVD, this is probably the best compromise of staging, filming, singing, and acting that one could hope for. First some technicalities.

There are seven disks across a four volume set. The sound quality is superb. It was recorded digitally and remastered for surround sound. I played it on 2-channel, and it sounded fantastic. The balance of voices and orchestra was truly ideal. The picture quality varies. The original was filmed on video, not on 'film', and it was done in 1980 or 81, so the quality of the video is not very high in some places - especially the beginning of Rheingold - but in 85% of the time, the picture quality is very good, though the colour definition could be better. If you buy the whole Ring as a set it's cheaper overall, and you get a nice cardboard sleeve that the four DVD packs all fit into.

The singing on this Ring is as good as it gets.

Gwyneth Jones sings Brunnhilde wonderfully - one of the half dozen or so singers of the century who could actually sing the role with 100% of the power it needs, and in my opinion the best (and only real) Brunnhilde since Birgit Nilsson; nor does she lack in subtlety and musicality. She is fine to watch as well and seems to take her stage performance as seriously and with as much energy as her singing. It's a wonderful thing to have her Brunnhilde in this DVD format.

Donald McIntyre sings Wotan. He has such an incredibly powerful voice, and is an excellent match to Jones's Brunnhilde, though he has moments which are rather unmusical. His acting is pretty good, but not a highlight. All things considered, he does not disappoint at all.

Siegfried is sung by Manfred Jung, who both looks and sounds the part to a T. Some of his singing now and then is a bit strident, especially in the prologue to Gotterdammerung where he has to 'match' the HUGE voice of G Jones, but especially in the opera Siegfried (part three of the Ring) he is truly magical. Some people take the opposite of this view and find him a bit silly to watch. Siegfried is a sort of non-character, and what characteristics he does have (of bravery, spontaneity, and imbecilic charm) are portrayed by Jung in such a natural and engaging manner. His singing is no less impressive, and he is one of the few Siegfrieds I've heard who really sings all of the notes well. Siegfieds tend to wail and harp a bit, but Jung is very musical.

Peter Hoffmann sings Siegmund with very good voice and tacky 'dramatic' acting which is actually not as irritating as it should be. His Sieglinde is Jeanine Altmayer (of the Janowski Ring) who gives very little of interest as a visual performer, and just manages to do the minimum in terms of singing. Her presence is not a selling point, but it doesn't give too much to object to either.

Heinz Zednik sings both Loge and the Mime in Siegfried. This is a stage animal who, especially in Rheingold, always does something good and appropriate to the character, whether he is singing or not. He is fantastic in Rheingold as the clever and disaffected Loge, and some of the time he tends to over-act in Siegfried, a contrast which is stark especially because in the latter he shares the stage with the incredibly naturalistic Manfred Jung.

Other roles, such as Fricka, Erda, Hunding, Gunther and Waltraute are all sung by people with great voices and above average acting skill, many of whom were to become famous singers in major roles: Hannah Schwarz, Otrun Wenkl, Matti Salminen among them. Franz Mazura as Gunther is perhaps a little soft of voice (he's a bit old) but it fits the role perfectly, and his wonderful acting of the part shines to create a vibrant portrayal of this key 'minor' character.

The orchestral playing is wonderful. Boulez's conducting is full-paced though never lacking in beauty of detail. It never feels rushed, never feels too slow, and he builds climaxes with an exceptionally natural energy. This is conducting of supreme competence.

The staging is by the French designer /director Patrice Chereau. It is tied to the industrial revolution. The sets on the whole are very good, the movement of characters about the stage can be rather weak and confusing. The transitions from scene to scene which are supposed to be seamless are done with the curtain dropping and rising again to show a different set. In my opinion this doesn't really work, and there are certain moments in the staging (the funeral march for example) which are just plain embarrassing. However, for a modern production, this one makes more sense than any other I've seen. I'd rather see a traditional production if given the choice, but in broad terms, and in many many details as well, the staging 'works'. You will probably 'have' to admit that, but whether you like it is up to you.

All in all, a better first DVD Ring could not be imagined.

There have probably been more words about this (in)famous production than about any other production, with the possible exception of the first in 1876. This is the centennial production at Bayreuth, which debuted in 1976. This particular version was made especially for video in 1980. It was made in the Festspielhaus but it is not a recorded live performance.

Patrice Chereau had never staged an opera when he was invited to produce the centennial production at Bayreuth. Legend has it that on the opening night in '76, the production was almost booed off the stage; four years later, when the production closed, there was a 45 minute standing ovation.

The best thing about this production is that it takes the drama entirely seriously, completely discarding operatic traditions including the ones that Wagner himself was explicit about. The Rhinemaidens are prostitutes, the Rhine is shown as a water processing plant. In Rhinegold, the actors are dressed in 18th century gear - powdered wigs, etc. By the time we get to Gotterdaemmerung, the characters are in early 20th century evening dress. This is an a-historical production, though. There is never any sense of moving forward in time - this is evident from the first two scenes of Rhinegold: The Rhinemaiden scenes are post-industrial; the gods have powdered wigs, while Alberich, et al. look indistinctly late 19th century. Walkure and Siegfried are similarly unanchored in time - it could be the 15th century; it could be the year your mother was born.

As to the singing, it ranges from satisfactory to excellent. Without running through the whole cast, suffice it to say that the principles are satisfying. Donald McIntyre's Wotan is not as musically dominating as, say, James Morris's, but Wotan's dilema and his growing desparation are perfectly conveyed by this great singing actor. Gwyneth Jones was past her prime in 1980 (she tends to be a little wild, vocally); but what a great performance! First of all, much of her singing is very fine, and all of it is intensely moving. Peter Hofman is good and good looking, and (can't remember her name) is a soulful Sieglinde. It's a rare treat to see two slim, blond Wolsang twins and find their relationship physically credible (as opposed to the Met production which has a black Sieglinde and a white Siegmund, for example). Matti Salminen's Hunding is surpassed only by his Hagen in the Met production. What a great actor and singer he was/is.

This is really an essential DVD set and it comes much cheaper than it ever did on VHS or laser disc. Every Perfect Wagnerite will want this set.

No sound recording of the Ring is perfect, and with filmed recordings, there is even more to object to or defend. For a first ever release of any complete Ring on DVD, this is probably the best compromise of staging, filming, singing, and acting that one could hope for. First some technicalities.

These disks (there are seven disks across a four volume set) are NTSC, not PAL. The regional coding is '0' (universal). So your TV and DVD player have to be NTSC compatible (I think most are anyway). The sound quality is superb. It was recorded digitally and remastered for surround sound. I played it on 2-channel, and it sounded fantastic. The balance of voices and orchestra was truly ideal. The picture quality varies. The original was filmed on video, not on 'film', and it was done in 1980 or 81, so the quality of the video is not very high in some places - especially the beginning of Rheingold - but in 85% of the time, the picture quality is very good, though the colour definition could be better. If you buy the whole Ring as a set it's cheaper overall, and you get a nice cardboard sleeve that the four DVD packs all fit into.

The singing on this Ring is as good as it gets.

Gwyneth Jones sings Brunnhilde wonderfully - one of the half dozen or so singers of the century who could actually sing the role with 100% of the power it needs, and in my opinion the best (and only real) Brunnhilde since Birgit Nilsson; nor does she lack in subtlety and musicality. She is fine to watch as well and seems to take her stage performance as seriously and with as much energy as her singing. It's a wonderful thing to have her Brunnhilde in this DVD format.

Donald McIntyre sings Wotan. He has such an incredibly powerful voice, and is an excellent match to Jones's Brunnhilde, though he has moments which are rather unmusical. His acting is pretty good, but not a highlight. All things considered, he does not disappoint at all.

Siegfried is sung by Manfred Jung, who both looks and sounds the part to a T. Some of his singing now and then is a bit strident, especially in the prologue to Gotterdammerung where he has to 'match' the HUGE voice of G Jones, but especially in the opera Siegfried (part three of the Ring) he is truly magical. Some people take the opposite of this view and find him a bit silly to watch. Siegfried is a sort of non-character, and what characteristics he does have (of bravery, spontaneity, and imbecilic charm) are portrayed by Jung in such a natural and engaging manner. His singing is no less impressive, and he is one of the few Siegfrieds I've heard who really sings all of the notes well. Siegfieds tend to wail and harp a bit, but Jung is very musical.

Peter Hoffmann sings Siegmund with very good voice and tacky 'dramatic' acting which is actually not as irritating as it should be. His Sieglinde is Jeanine Altmayer (of the Janowski Ring) who gives very little of interest as a visual performer, and just manages to do the minimum in terms of singing. Her presence is not a selling point, but it doesn't give too much to object to either.

Heinz Zednik sings both Loge and the Mime in Siegfried. This is a stage animal who, especially in Rheingold, always does something good and appropriate to the character, whether he is singing or not. He is fantastic in Rheingold as the clever and disaffected Loge, and some of the time he tends to over-act in Siegfried, a contrast which is stark especially because in the latter he shares the stage with the incredibly naturalistic Manfred Jung.

Other roles, such as Fricka, Erda, Hunding, Gunther and Waltraute are all sung by people with great voices and above average acting skill, many of whom were to become famous singers in major roles: Hannah Schwarz, Otrun Wenkl, Matti Salminen among them. Franz Mazura as Gunther is perhaps a little soft of voice (he's a bit old) but it fits the role perfectly, and his wonderful acting of the part shines to create a vibrant portrayal of this key 'minor' character.

The orchestral playing is wonderful. Boulez's conducting is full-paced though never lacking in beauty of detail. It never feels rushed, never feels too slow, and he builds climaxes with an exceptionally natural energy. This is conducting of supreme competence.

The staging is by the French designer /director Patrice Chereau. It is tied to the industrial revolution. The sets on the whole are very good, the movement of characters about the stage can be rather weak and confusing. The transitions from scene to scene which are supposed to be seamless are done with the curtain dropping and rising again to show a different set. In my opinion this doesn't really work, and there are certain moments in the staging (the funeral march for example) which are just plain embarrassing. However, for a modern production, this one makes more sense than any other I've seen. I'd rather see a traditional production if given the choice, but in broad terms, and in many many details as well, the staging 'works'. You will probably 'have' to admit that, but whether you like it is up to you.

All in all, a better first DVD Ring could not be imagined.

I had the great fortune to attend this performance each year from 1977 to 1980 at Bayreuth. I could wittness the complete and utterly transformation of the attendees from hostile outrage in 1977 (including outburst during the performance) to universal acceptance and more than 1 1/2 hour standing ovations after the final performance of Götterdämmerung. This transformation from the most hated 'French' Ring to the production of the century comes from the achievement of staging/directing/conducting of this unique masterpiece as a truly Musikdrama, i.e. an experience wherein the music, the acting and the words are melted together into one solid piece. It is very seldom that Wagner's invention of Leitmotiv (the thought behind the action) is so clearly transformed into acting and viewing. Chereau lets the drama unfold in the Industrial Revolution, Wotan is the undisputed owner of a business empire, his counterpart Alberich represents the lower working class with high ambitions for revolution. Siegried is the nature boy who doesn't really know who he is. When stepping into the high class world of the Gibichungen in Götterdämmerung, he fails because he cannot accomodate for all the tricks and traps of this utterly immoral and selfish society. The same happens to Siegmund when he steps into the world of the well settled and powerfull landowner Hunding.
The acting of every person in this performance is brilliant and so closely tied to the deeper meaning of the whole Ring that I doubt that there will be ever a production that can capture the real message of Wagner's Ring in such clearness - the rise and fall of the ruling class and the role of love and truthfullness in creating a new and better world. This is Wagners most political work and this DVD shows it clearly. If you have seen the Ring before in a traditional performance (like the Met-DVD) you will see a completely different Ring now.
The highly transparent conducting of Boulez in conjunction with the superb acting/singing opens complete new dimensions in understanding and feeling of the Ring.
The video quality might not be the best (it is still very good) and some of the singers might not be prime (such as Gunther and Sieglinde), but - again - this recording is not an opera, it is a Musikdrama!
If you want to enjoy the Ring as a "Gesamtkunstwerk", as a perfect combination of words, music, stage setting and acting - this one is a must for you.

The release on DVD of this controversial Bayreuth production (it was heavily booed during its first run in 1976 but received an ovation lasting for over 90 minutes when it bowed out in 1980) enables one to re-evaluate it afresh, both in relation to the production and the singing.

After more than 20 years during which people have become accustomed to some very outrageous production style, Patrice Chereau's attempt seems almost traditional by comparison. (The production here was filmed in 1979 and 1980, when some of the original weaknesses in 1976, both as regards the direction and the sets, had already been ironed out.) Nevertheless, what matters most is that, for most of the time, Chereau's interpretation of the drama is not only workable, it's also coherent and, at times, illuminating. It works extremely well on screen, thanks to the video direction by Brian Large. Some may quibble about the hydro-electric dam in Rheingold, the dinner jackets in Goetterdaemmerung, the pendulum in Walkure and the steam-driven forging machine in Siegfried. Yet, all these have a point in Chereau's pro-Marxist, pro-environmentalist and rather pessimistic approach of the cycle. In fact, such up-dating make the drama even more readily understandable by most. While there are some minor failures in some of the scenes, these are far out-weighed by the many good points. This production indeed deserves its classic status.

The quality of singing (but not the acting, which is unanimously considered to be excellent) has also been criticised by some. However, I find it acceptable. There're also some fine performances. The biggest disappointment is perhaps Manfred Jung's Siegfried. But even he isn't unbearable. Jones is vocally erratic, but her dramatic involvement plus quite an amount of simply thrilling singing (as well as her pleasant appearance) more than compensates for some passing tonal unsteadiness. McIntyre's Wotan is authoritative even though the character doesn't attract one's sympathy. (His Wotan DOES carry a spear.) Many of the singers in the other characters (especially the Siegmund, Sieglinde, Fricka, Alberich, Loge, Fasolt, Fafner, Hagen) have also made their mark, and everyone works in close colloboration with each other, making this is genuine team performance.

I think this set should appeal to those who're familiar with the Ring as well as those new to Wagner. After all, when this production was serialised on TV 20 years ago, it has attracted a large number of viewers, many of whom had not even heard a note from the Ring before.

This production will not appeal to those who prefer a traditional approach in staging Wagner's masterpiece. It is also true that up-dating the background to somewhere sometime during the Industrial Revoluation may have stripped the drama of its universality. Yet, I think the director, Patrice Chereau, merely wish to test out the Ring's drama in a specific historical and political context, and within such an ambit his "experiment" is, on the whole, a success.

Much has been said about the superlative standard of acting of the singers in this production as well as Brian Large's wonderful videography. I also tend to think that the singing is also very good, at least better than the case of many Wagner productions that we're treated to nowadays. I admire Gwyneth Jones's Brunnhilde, which is one of the singer's greatest achievements on records. Donald McIntyre's Wotan is tonally monotonous, but his interpretation has considerable stature. Hofmann and Altmeyer are pretty moving as the pair of Walsung twins and most of the other roles are more than competently handled. Boulez's conducting is accurate, and although his approach isn't too heroic (as one may expect for the Ring), this swift-paced approach is not out of place (and pace) with Chereau's dramatic and passionate production.

The video does show a bit of its age, but both the picture and sound qualities on this DVD release are still very good. On the whole, I think this is an interesting and cherishable production, and one which the audience may discover newer things with each repeated viewing. In fact, I found myself growing more and more fond of the production and performance, which probably is evidence of their success. I can warmly recommend it for home viewing.

First, a little background is in order. I believe I was among the first reviewers of the Solti "Ring" for amazon, and I hereby confess that my present review is biased by that former work. That being said, I will found several surprises in this DVD that made it an overall pleasant experience.

First, the technical details: This DVD supports Dolby 2 and 5.1. It also features subtitles. However, it has a poor menu system, so it is impossible to jump to a specific scene from the main menu: a scene can only be accessed through the "next/previous track" option in the DVD remote control.

This is a live performance without an audience. In my opinion, this can be tricky. On the one hand, it is possible to record the event without the problems associated with an audience: freedom of equipment placement, no noise from the audience, etc. However, it may also be something akin to a rehearsal for the performers. Where do they find the inspiration to please their audience? I believe that a little of this crept into the work.

The performances are acceptable for many of the characters. I liked Gwyneth Jones as Brunnhilde: She sings with authority and is faithful to the strength of the character. On the other hand, I found Manfred Jung's Siegfried challenging to enjoy: He often belts out notes instead of singing, and some his acting mannerisms are distracting. It's almost as though he's just rehearsing and can let a few (actually many) notes get away...

This is only one of the reasons why the work did not get 5 stars. Another reason: Why, oh why, wasn't Matti Salminen cast as Hagen? (At least we are graced by his vocal prowess as Hunding, but only too briefly.) Also, the pace in some parts of the work are a little brisk, as though the conductor wanted to just get on with it.

However, the DVD set has some pleasant surprises, and often at many levels. For example, Siegfried is certainly the weakest of the set, as it is simple dramatically. But it was difficult to ignore the performance of Heinz Zednik's Mime. He was comical while not being overly so. Even my small children liked his interactions with Siegfried and the Wanderer. (It's never too early to start the children on Wagner.)

The staging is not traditional, but it is not distracting either. Indeed, I found the imagery and the use of lighting another pleasant surprise. And at least the Valkyries are actually gathering up heroes. (However, I could not understand why the interaction between Wotan and Brunnhilde in Act 2 of Die Walkure was staged as it was: quirky to say the least.)

Since this review is for the work as a whole, it merits the 4 stars. This review is a balance of the overall production; individually, each opera leaves its mark in a distinct way. But it is also important to note that this DVD set is cheaper than some CD sets, and the pleasure of a live performance is there, warts and all. Yes, the work could have been better in many respects, but the idiosynchrasies of this set give it much of its charm.

Visually and conceptually, this is a great production. Brian Large's direction is also a magnificent achievement. While Boulez's conducting may be controversial, the orchestral playing is always alert and transparent. The standard of acting is extremely high and most of the singers live their parts. While the level of singing here is definitely not an all time high (though not at all bad when compared with more recent productions of the Ring around the world), the whole thing makes compelling viewing. A stunning production.

This is an excellent film version of the famous Bayreuth production that premiered for the Ring's centennial. It certainly is an unusual production, straying far from the naturalistic production seen at the Met in recent years. Most of the time, the visual images work well and are quite striking -- the opening of Rheingold, for example, takes place in front of what looks to be some sort of hydoelectric dam for example.

The highlight of this Ring is the acting -- Film director Patrice Chereau designed this Ring and really set it up so that the singers actually act and are expressive. I feel that the Ring operas more than any other opera(s) are really helped by having subtitles to follow the opera -- here the combination of expressive singers and a clear understanding of what is being sung really captures the drama of the works.

There are complaints that this Ring is not well sung, though I think most of the singers were more than adequate (certainly compared to those at recent Bayreuth Rings!). Some would say that Boulez leads an underpowered performance, which is probably true relative to (say) teh drive of a Solti performance. Again, this is perfectly fine for this Ring, in part because the somewhat quieter and clearer orchestral texture helps to bring out the themes of the music and highlight the drama. The conductor's approach makes this a relatively fast moving Ring rather than a weighty Ring.

The DVD picture quality is excellent, camera work is good as our views move around the stage, and the sound is also excellent with little if any audience and stage noise.

This is an excellent Ring to have in any case and would nicely complement the Levine Ring from the Met if and when it is ever fully released on DVD (only Walkure is out now).

It is a definite buy.

I found this DVD production of Wagner's epic Ring Cyle to be hugely enjoyable. It's in many ways a splendid production which keeps the viewer riveted to the drama. On the whole, it's exceedingly well directed, too, even though there're a few minor flaws (which is unavoidable for any production on such a scale). The acting deserves special mention because this production boasts some of the best acting that I've ever seen on the operatic stage, whether in the opera house or on video. The singing is generally very good and every one seems to have given his or her all.

I have slight reservations on Boulez's conducting, which is comparatively lightweight when compared with performances by other seasoned Wagnerian conductors. Yet, such an interpretation somehow fits in with the production concept, which is finely realised in the Bayreuth Festival Hall. It all makes an unforgettable viewing/listening experience.