# Recommendation: The best Todesverkündung from Die Walküre?



## silentio (Nov 10, 2014)

The Death Announcement, the Act 2 Finale of Die Walküre, is probably my most favorite scene from the cycle.

What are your favorite performances? Recital or concert version can be included.

So far I am most impressed by Marta Fuchs (Brunnhilde) and Melchior (Siegmund) in the 1935 Walkure excerpts conducted by Bruno Walter. Fuchs is surprisingly warm and calm, and Melchior is right in his prime.






Vickers and Crespin in Karajan DG studio is another great pair:






I remember Flagstad once said that she used this as a "test piece" to warm up. Any performances of her should I look for?


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## Seattleoperafan (Mar 24, 2013)

I have played that TEST PIECE from that radio music lesson over and over. GOD, you could hear her overtones! Needless to say, her complete version is my favorite. It lies so low and her low voice was a miracle. Crespin also had a strong lower voice. I wish Norman had recorded this duet. Nilsson is also very good. I am distraught that Traubel never recorded it as she had the most beautiful low voice of all.




 Flagstad in 54. She did it with Melchoir earlier.


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## DavidA (Dec 14, 2012)

Yes certainly a beautifully set music. I had it years ago on a DG recording with Varnay and Windgassen. My favourite is the Crespin / Vickers with Karajan.


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## Reichstag aus LICHT (Oct 25, 2010)

At the risk of being called a heretic, I find the _Todesverkündigung_ to be the dullest set-piece scene in the _Ring_. I find it rather formal and starchy, and it can quickly outstay its welcome unless it is being sung by a pair of really interesting singers. For that very reason, the version by Crespin and Vickers is one I'd also recommend; nothing dull or starchy about those voices.


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## wkasimer (Jun 5, 2017)

Reichstag aus LICHT said:


> At the risk of being called a heretic, I find the _Todesverkündigung_ to be the dullest set-piece scene in the _Ring_. I find it rather formal and starchy, and it can quickly outstay its welcome unless it is being sung by a pair of really interesting singers. For that very reason, the version by Crespin and Vickers is one I'd also recommend; nothing dull or starchy about those voices.


It also takes a conductor who knows how to express the gravity of the scene, which is why I usually turn to Furtwangler's recording with the VPO, with Modl and Suthaus.


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## silentio (Nov 10, 2014)

wkasimer said:


> It also takes a conductor who knows how to express the gravity of the scene, which is why I usually turn to Furtwangler's recording with the VPO, with Modl and Suthaus.


I just listened Modl and Suthaus in Furtwangler studio Walkure. You are right, what a conducting; it gives me the shivers the moment the fate motif creeps in. Will check out his RAI Walkure later.


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## DavidA (Dec 14, 2012)

wkasimer said:


> It also takes a conductor who knows how to express the gravity of the scene, which is why I usually turn to Furtwangler's recording with the VPO, with Modl and Suthaus.


I have that version but afraid Modl and Suthaus are not in the best voice


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## Granate (Jun 25, 2016)

Altmeyer/Jerusalem - Janowski
Nilsson/King - Böhm 67
Varnay/Vickers - Knappertsbusch 58


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## Woodduck (Mar 17, 2014)

wkasimer said:


> It also takes a conductor who knows how to express the gravity of the scene, which is why I usually turn to Furtwangler's recording with the VPO, with Modl and Suthaus.


Furtwangler was a wizard. He captures not only the gravity but the threat - the sense of fate, of something terrible and implacable. His dynamics and phrasing, and the deep tone he draws from the VPO's brass, are incomparable. Modl (whose gusty vocal production I usually don't enjoy) is here not struggling against tessitura, and she and Suthaus are with the conductor in spirit. In the final analysis, I find Flagstad's serene beauty and Melchior or Vickers ideal in this music, but this version is wonderful.


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## DavidA (Dec 14, 2012)

I put the Karajan version on this morning with Vickers and Crespin. Most beautiful singing with the BPO


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## Reichstag aus LICHT (Oct 25, 2010)

wkasimer said:


> It also takes a conductor who knows how to express the gravity of the scene.


Agreed, although most competent conductors should be able to cope in my view.


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## Woodduck (Mar 17, 2014)

Reichstag aus LICHT said:


> Agreed, although most competent conductors should be able to cope in my view.


"How was the opera?"

"Oh, fine. Everyone was competent. They coped."

"Wow! Are tickets still available?"


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## silentio (Nov 10, 2014)

This scene is great not just from the musical perspective but also from the storytelling point of view. There are other characters in the Ring who know well that the whole business is a train about to derail: Loge is the first, then Wotan, then Erda, etc., but only Brunnhilde was motivated to act. She did that because she was enlightened and transformed by Compassion, an idea that is later fleshed out in Parsifal.

Siegfried never has a chance to learn about compassion, he falls too early and too easily. It is quite ironical that although the characters in Die Walkure- Wotan, Sieglinde, and Brunnhilde herself -anxiously anticipate the arrival of a figure to bring "the change", it is Brunnhilde -not Siegfried- who would carry on the task.


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## DavidA (Dec 14, 2012)

silentio said:


> This scene is great not just from the musical perspective but also from the storytelling point of view. There are other characters in the Ring who know well that the whole business is a train about to derail: Loge is the first, then Wotan, then Erda, etc., but only Brunnhilde was motivated to act. She did that because she was enlightened and transformed by Compassion, an idea that is later fleshed out in Parsifal.
> 
> *Siegfried never has a chance to learn about compassion, *he falls too early and too easily. It is quite ironical that although the characters in Die Walkure- Wotan, Sieglinde, and Brunnhilde herself -anxiously anticipate the arrival of a figure to bring "the change", it is Brunnhilde -not Siegfried- who would carry on the task.


Yes we notice in his killing of an unarmed dwarf! To me there is little or no real compassion in the Ring. I certainly can't think of any offhand.


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## Biffo (Mar 7, 2016)

DavidA said:


> Yes we notice in his killing of an unarmed dwarf! To me there is little or no real compassion in the Ring. I certainly can't think of any offhand.


A dwarf armed with a poisonous draught he is about to give to Siegfried.

There is genuine tender love between Siegmund and Sieglinde and it is Sieglinde's compassion for Siegmund's plight that leads her to drug her brutish husband and flee with him. It is Brunnhilde's compassion for Siegmund and Sieglinde that leads her to disobey Wotan.

The rest of the work is pretty brutal and violent with characters driven by greed, lust for power and self-importance.


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## The Conte (May 31, 2015)

Woodduck said:


> "How was the opera?"
> 
> "Oh, fine. Everyone was competent. They coped."
> 
> "Wow! Are tickets still available?"


Maybe I'm becoming an old fart, but that's very much how it rocks in today's opera world where directors get more focus than the singers and the casting in the top class theatres can be disappointing.

N.


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## DavidA (Dec 14, 2012)

Biffo said:


> A dwarf armed with a poisonous draught he is about to give to Siegfried.
> 
> There is genuine tender love between Siegmund and Sieglinde and it is Sieglinde's compassion for Siegmund's plight that leads her to drug her brutish husband and flee with him. It is Brunnhilde's compassion for Siegmund and Sieglinde that leads her to disobey Wotan.
> 
> The rest of the work is pretty brutal and violent with characters driven by greed, lust for power and self-importance.


But what sort of a hero is this? More like the Outlaw Jose Wales anti-hero. Mind you, if I'd have been treated by Siegfried the way he treats Mime because he is ugly, I think I might resort to poison.

It is not compassion. Self preservation maybe? I don't blame her for wanting to get rid of her husband but elope with her twin brother in an incentuous affair? Compassion?

Yes I would agree that Brunnhilde does show a certain compassion towards the twins, but it is not high on the list in the Ring.


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## The Conte (May 31, 2015)

DavidA said:


> Yes I would agree that Brunnhilde does show a certain compassion towards the twins, but it is not high on the list in the Ring.


Really? Sieglinde certainly wouldn't think so. When Sieglinde realises (or intuitively understands) what Brunhilde is giving up to protect her and Siegfried, she tells Brunhilde how wonderful her actions are. That famous leitmotiv then returns at the end of the opera when Brunhilde gives up her life to save the world. If compassion isn't high on the list in the Ring, maybe I've misunderstood the work and it's just fifteen hours of horned helmets, a dragon and no jokes!

N.


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## Taplow (Aug 13, 2017)

The Conte said:


> ... fifteen hours of horned helmets, a dragon and no jokes!


I think I've just found my new response when someone next asks me what The Ring is all about.


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## Biffo (Mar 7, 2016)

DavidA said:


> But what sort of a hero is this? More like the Outlaw Jose Wales anti-hero. Mind you, if I'd have been treated by Siegfried the way he treats Mime because he is ugly, I think I might resort to poison.
> 
> It is not compassion. Self preservation maybe? I don't blame her for wanting to get rid of her husband but elope with her twin brother in an incentuous affair? Compassion?
> 
> Yes I would agree that Brunnhilde does show a certain compassion towards the twins, but it is not high on the list in the Ring.


Siegfried is pretty callous but then he has been raised with one object in mind - to kill Fafner. Who is responsible for that?

Sieglinde shows compassion and tenderness for Siegmund before she knows he is her brother.


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## Granate (Jun 25, 2016)

*For the second time!*

Which Brünnhilde do you think could *act* this scene the best, regardless of her voice performance? I was quite underwhelmed with G. Jones body interpretation in the Boulez DVD.


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## Biffo (Mar 7, 2016)

Sorry, can't help you there - the Boulez version is the only one I have on DVD and the live performances I saw are too far in the past. Vocally I would say Astrid Varnay.


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## Faustian (Feb 8, 2015)

Biffo said:


> A dwarf armed with a poisonous draught he is about to give to Siegfried.
> 
> There is genuine tender love between Siegmund and Sieglinde and it is Sieglinde's compassion for Siegmund's plight that leads her to drug her brutish husband and flee with him. It is Brunnhilde's compassion for Siegmund and Sieglinde that leads her to disobey Wotan.
> 
> The rest of the work is pretty brutal and violent with characters driven by greed, lust for power and self-importance.





The Conte said:


> Really? Sieglinde certainly wouldn't think so. When Sieglinde realises (or intuitively understands) what Brunhilde is giving up to protect her and Siegfried, she tells Brunhilde how wonderful her actions are. That famous leitmotiv then returns at the end of the opera when Brunhilde gives up her life to save the world. If compassion isn't high on the list in the Ring, maybe I've misunderstood the work and it's just fifteen hours of horned helmets, a dragon and no jokes!
> 
> N.


You're arguing with someone who has made it clear for years that they are loathe to find any redeeming qualities in the work beyond the music. Trust me, it's a losing battle.


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## DavidA (Dec 14, 2012)

The Conte said:


> Really? Sieglinde certainly wouldn't think so. When Sieglinde realises (or intuitively understands) what Brunhilde is giving up to protect her and Siegfried, she tells Brunhilde how wonderful her actions are. That famous leitmotiv then returns at the end of the opera when Brunhilde gives up her life to save the world. If compassion isn't high on the list in the Ring, maybe I've misunderstood the work and it's just fifteen hours of horned helmets, a dragon and *no jokes!*
> N.


It is most that, I fear! A combination of Wagner and Schopenhauer. Somewhat short on gags!


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## DavidA (Dec 14, 2012)

Faustian said:


> You're arguing with someone who has made it clear for years that they are loathe to find any redeeming qualities in the work beyond the music. Trust me, it's a loosing battle.


Not that we are loathe to. It's just that we cannot find too much of certain qualities in Wagner's text. Of course, that applies to other operas too so Wagner is not on his own. But what do you expect from a totally artificial dramatic form where people sing rather than speak?

But you've no need to battle. As I've often said, this is only opera. Fiction! It's something which interests a tiny fraction of society at large. There are far more important things in life to battle about.


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## DavidA (Dec 14, 2012)

Just to get back on point, I put on the Solti version of the said scene and was surprised at how forthright it sounded after Karajan. It is purely a matter of taste but I do prefer Wagner with a bit more subtlety. It's interesting that in his recording of the Ring (and it is the producer's concept rather than the conductor's) John Culshaw chose a conductor to fit in with his 'sonic stage' theories of recording. At the time Wieland Wagner was experimenting with a lighter, brisker sound, which is why Bohm and Boulez were invited to conduct at Bayreuth, something Culshaw did not hold with.


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## Faustian (Feb 8, 2015)

DavidA said:


> Not that we are loathe to. It's just that we cannot find too much of certain qualities in Wagner's text. Of course, that applies to other operas too so Wagner is not on his own. But what do you expect from a totally artificial dramatic form where people sing rather than speak?
> 
> But you've no need to battle. As I've often said, this is only opera. Fiction! It's something which interests a tiny fraction of society at large. There are far more important things in life to battle about.


Some people find that this "fiction" sparks their imagination, stirs their emotions, inspires them and enriches their lives. So don't be surprised when others get offended at your belittling.


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## Granate (Jun 25, 2016)

Guys. Sorry to break it, but we are arguing for leisure more than knowledge. No one is going to change their opinion and replying just means to light the match.


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## DavidA (Dec 14, 2012)

I've been intrigued to listen to this scene from the recordings of the Walkure I have collected over the years. Just listened to the Janowski version with Altmeyer and Jerusalem. Neither in the class of Crispin and Vickers for subtlety but with superb playing from the Dresden orchestra the scene improves as it goes along. I wonder whether this being a favourite part of the Ring with many people owes something to the fact that it is more like a conventional operatic scene with a beautiful, haunting melody that is repeated?


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## Granate (Jun 25, 2016)

Any opinion on this version? It's one of my favourites in my upcoming Mono Ring results... I personally like more Varnay than Crespin in this opera from what I've reviewed.


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## Becca (Feb 5, 2015)

Granate said:


> *For the second time!*
> 
> Which Brünnhilde do you think could *act* this scene the best, regardless of her voice performance? I was quite underwhelmed with G. Jones body interpretation in the Boulez DVD.


Could act the best? Irrespective of the best voice? Then Hildegard Behrens (and I am not meaning to put down her singing.)


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## Woodduck (Mar 17, 2014)

DavidA said:


> To me there is little or no real compassion in the Ring. I certainly can't think of any offhand.


If you can't think of much compassion in the _Ring_, it's because there isn't much, in purely quantitative terms - but what there is is critical to its meaning. The story traces the evolution of consciousness, most importantly moral consciousness, from the amoral state of infancy - represented by the pure, innocent selfishness of the Rhinemaidens and the first stirrings of ego awareness in Alberich - through the first major stage of moral development seen in the legalism of the reign of the gods, symbolized by Wotan's spear and the importance of treaties (which represent limits placed on egoism), through the awakening of compassion in the warrior-maid Brunnhilde and her final act of self-sacrifice.

Brunnhilde, by her defiance of the legalism by which Wotan rules, brings to crisis the moral contradiction in the god's nature: compelled to enforce the primitive code of law by which he rules and to renounce his daughter for doing what he himself would have wanted to do, Wotan realizes the insufficiency of legalistic morality and so negates the very basis of his existence. The grandeur and poignancy of his farewell lies in the fact that it is not a farewell only to a daughter, but to his life and world. He is left only with the hope that Brunnhilde and the coming hero who will awaken her will create a better world on a better moral foundation.

Brunnhilde's undermining of legalistic morality (which even she doesn't fully understand until the end) is the critical moment in the dawning of a higher moral consciousness, one based not on law but on love. The hope that Siegfried will grow up to embody this "natural morality" is, unfortunately, not realized; he never reaches full consciousness and betrays love (which is why, symbolically, he must die), and it's left to Brunnhilde, by her self-sacrifice, to do away with the old order and leave the world to a humanity no longer ruled by law but by the dictates of an understanding heart.

The story of Parsifal recapitulates, in perhaps even more profound symbolism, the _Ring_'s tale of man in search of a true moral foundation, with Wotan's harsh reign of law transmuted into Titurel's, Alberich's pure egoism into Klingsor's, and Siegfried's hopeful but aborted life into Parsifal's journey from thoughtless childhood to compassionate manhood.


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## DarkAngel (Aug 11, 2010)

Granate said:


> Altmeyer/Jerusalem - Janowski
> Nilsson/King - Böhm 67
> *Varnay/Vickers - Knappertsbusch 58*


Varnay/Windgassen 56






Since this is a studio recording we have more emphasized orchestra (vs Bayreuth covered pit) and notice the interplay with slashing lower string sections and the dramatic vocal lines, love my alpha valkyrie Astrid......


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## DavidA (Dec 14, 2012)

DarkAngel said:


> Varnay/Windgassen 56
> 
> 
> 
> ...


I can remember buying this as a lad. A record of Wagnerian excerpts. I remember thinking this was my favourite piece of Wagner at the time.


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## silentio (Nov 10, 2014)

DarkAngel said:


> Varnay/Windgassen 56
> 
> 
> 
> ...


One of Varnay best performances.


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## DarkAngel (Aug 11, 2010)

DavidA said:


> I can remember buying this as a lad. A record of Wagnerian excerpts. I remember thinking this was my favourite piece of Wagner at the time.


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## Biffo (Mar 7, 2016)

DarkAngel said:


> Varnay/Windgassen 56
> 
> 
> 
> ...


The big drawback with the studio recording is the Siegmund of Windgassen; he is painful to listen to, here and for Kempe (Bayreuth 1960). Vinay is greatly preferable (Keilberth, Bayreuth 1955). Varnay is superb in both.


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## Woodduck (Mar 17, 2014)

Biffo said:


> The big drawback with the studio recording is the Siegmund of Windgassen; he is painful to listen to, here and for Kempe (Bayreuth 1960). Vinay is greatly preferable (Keilberth, Bayreuth 1955). Varnay is superb in both.


Some of us can live without both these voices. Windgassen swallows his tone, and Varnay's high notes affect me like fingernails on a chalkboard. They're fine artists, though, and they give a good performance here.


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## DavidA (Dec 14, 2012)

Just listening to the Furtwangler VPO - the conductor is the only reason to go for it. Both Modl and Suthaus make painful listening imo


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