# favorite Wagner recordings



## science (Oct 14, 2010)

What are your favorite recordings - CDs, DVDs, whatever - of Wagner's music? What would you recommend the most?*

I'll open with two obvious choices:

_Der Ring des Nibelungen _

CD: Sir Georg Solti on Decca. - The classic audio recording. Was it the first complete one? I don't know, but it was _one_ of the first. Has it been surpassed? I don't know, and I'm probably never going to find out because in the age of the DVD, one of these is enough for me.

DVD: James Levine and the Metropolitan Opera, on DG. I haven't seen any others, but aside from Barenboim's Bayreuth, which I will get around to (insha'Allah), I've never heard of another that I'd like to see. (For instance, what I've read of "The Machine" does not yet excite me enough to withdraw $100 from my retirement fund.)

*If you want to discuss Wagner's views or ethics, please use all the other threads on that topic! This one is for discussing our favorite and most highly recommended recordings, not for unburdening ourselves about the man himself.


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## leomarillier (Nov 12, 2011)

Hey!
Solti's Ring remains, some 50 years after its issue, a tremendous milestone of recording era. With - for Rheingold at least - legendary singers led by this generosity and pride to be part of the first complete studio ring recording, with John Culshaw's innovative "staging", which allowed singers to move on a "stage" and still seeming perfectly focused on the sound take. Solti's famous engagement and torrent of ideas - never was he seen yawning or with empty eyes - made the whole project come true, and he leads an already superb Wiener Philarmoniker to a tremendous performance where every SINGLE NOTE IS AS VALUABLE AND IMPORTANT AS THE WORLD. There is no musical rest in this recording, not a single moment, dynamic, balance that's not been scanned and "alchimized" by Sir Georg. Musically speaking, many reviewers say the least spine-tingling opera of the Tetralogy is the Walkure in this recording. The only - slight- problem is the intonation and it's even worse in Karajan's Salzburger recording!
When I'm talking about performance, it's because there is such tension, organization, will behind every note that you don't need any stage, or any image, it would only pollute the maelstrom you're listening to! Rheingold is defenitely the most animated, hurried, pragmatic, negotiating, stereotypical, sarcastic, solemn of all four, and Solti gets that so well, served, on a silver plate, the greatest cast since the 50's. Walkure is a storm of burning passion, tender feelings, and regard for freedom (notice that's also the least intricately linked to the leitmotiv system opera of the ring). In the Annunciation of the death of Siegmund, act 2, the silence is DEAFENING. Hans Hotter, though less clear than what he used to be, is the darkest, most tortured of all Wotans. His Abschied at the end of act 3 is the best you can find, along with Knappertsbusch's. George London's solemn and charismatic Wotan of the Rheingold is another of the superb choices of this Ring. Siegfried is, don't forget, is the discover of a boy by himself, his own setting to freedom! The most wonderfully nature-related opera of all needed an orchestra of more importance than the other 3 operas. Solti did well. The SLOW hammering at the end of act 1 and the terrifying symphony of terror before, the magic of everything in act 2 (my favorite single act, because the simplest), and the real delivrance of the Ring, when from now the multiple knots of the plot will fall and break, the Duo at the End, the climbing of the Rock of Brunnhilde, the most heroic music of the Ring!
The last recording, Gotterdammerung, might be the greatest of the four. First of all, because musically Wagner is at the height of his compositional abilities, and because the Web of leitmotivs is densedensedense, and the world opens up for our two young heroes: civilization, kings, and Solti venerates and loves all of this. Second, the singers are the craziest bunch of wagneroides you'll see. Brunnhilde in constant fusion, Windgassen in his own world and character, and the solemn and precious Gunther with Fischer-Dieskau, the so dark Gotlob Frick with Hagen, they give us the greatest spectacle of drama, music, eargasm and emotion one could ever dream. First time I listened to this opera was this recording. October 9th, 2012. I just couldn't stop. I was getting shrunk step by step by the amount of sound waves I was recieving. Slowly turned the volume as loud as I could, manly tears shedding in the funeral march, I always fall in love with the Rhinemaidens in the beginning of act 3, terrified by the capharnaum caused by Hagen's call HOIHO, and a cosmic experience for Nillson's last monologue.This is such great music.

For Parsifal, Solti has also done an incredibly deep and yet talkative version, with the greatest cast of the time. Gergiev's very recent Maarinsky issue is beautiful by its plasticity and sound take, as well as reverb control, orchestra mellow-dy, and narrative power. Kna's 51 and 62 are legendary, but they are very special in terms of time philosophy. The live soundtake can also leave some decieved.
As for the wondrous Meistersingers , Karajan's is a classic, but Jochum's, with Domingo is a demonstration of beauty, and Fischer Dieskau is deep. Solti's is more orchestral, but Rudolf Kempe's is really inspirational. He takes everyone on a journey of humanity; Kubelik's has the same proportions.
Now, Tristan... I let you choose, because it's extremly personal. Karajan the drastically lyrical, Bohm the explosive, Furtwangler the Sun, or Kleiber the Alchemist, with equally ground-breaking singers.
Klemperer's Hollander is a classic.

DVDs now. 
Ring: the MET's 2012 could be wonderful, but Boulez/Chereau's remain the revolution, the animation, the hastiness, the cruelty of time. Barenboim/Kupfer is much darker, emotionnal. Levine's is not a favorite of mine at all, sorry. The unmatching of some singers' profile with their role is just too unacceptable for me. The singing performances are unique, but the mere traditionalism covering the poly-meaning dimension breaks the spell according to me.
Tristan: Pommelle's poetic and Schopenhauerian vision, Chereau inimitable power of drawing attention to the splendid, but Heiner Muller's is my favorite for heart reasons.
Parsifal: Syberberg's movie adaptation is asummit of the Gesamtkunstwerk to me, but his vision can be contested. Sinopoli's is strangely beautiful, but the 2013 prod at the MET fills me with bliss. already on youtube. Barenboim/Kupfer's deserves attention just by the acting qualities of the most complicated of wagner characters, Kundry, portrayed by Waltraut Meier.
Meistersingers: the MET/ Levine is wonderfully set in the right time, and Jurowski's Glyndebourne Blu-ray is more delicate, maybe.


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## techniquest (Aug 3, 2012)

> Musically speaking, many reviewers say the least spine-tingling opera of the Tetralogy is the Walkure in this recording. The only - slight- problem is the intonation and it's even worse in Karajan's Salzburger recording!


I am SO pleased that I bought the Solti Ring last year, but I wonder if you could help; what in your opinion would be the best stand-alone recording of Die Walkure?


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## JCarmel (Feb 3, 2013)

I have Die Walkure conducted by Solti but it's my least favourite of the cycle....it's just a tad too s l o w. 
I now love 'Das Rheingold' more than the other three put-together but my second favourite ...once Gotterdamerung, is now Siegfried....which is all about as interesting to know as paint is to watch whilst drying...so I hope you'll forgive me for wasting your time.


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## bigshot (Nov 22, 2011)

Die Walkure Act 1: Walter / Melchior / Lehmann List (Greatest performance ever)
Parsifal: Knappertsbusch 1962 (My favorite Bayreuth recording)
Rhinegold: Karajan Salzberg Easter Festival DVD (favorite video)


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## bigshot (Nov 22, 2011)

techniquest said:


> what in your opinion would be the best stand-alone recording of Die Walkure?


Leinsdorf / Vickers / Nilsson / London


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## leomarillier (Nov 12, 2011)

JCarmel, I totally agree with yuo about the walkure. Yes, Karajan's is "better", but it is a radical changement of sonority. Karajan looks for a more unified tone in the orchestra, and Siegmund (Jon Vickers) is one of the best around here. My only criticism is Wotan, much too soft and clearly not tender in the same time. The orchestral TENSION, which is important here, as we're in a shakespearian play, is, to my ears, not present. Still, great recording qualities, leading singers.
Leinsdorf is an incredible choice. But I'm more fond of more modern versions, such as the volcanic version of Boulez (but Donald McIntyre is a better actor, not better singer, than James Morris in the MET 1993 prod), and that of Haitink, with Morris, but perhaps missing subtlety.


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## bigshot (Nov 22, 2011)

I used to listen to the Boulez Ring a lot. Lately it just seems weak to me. I think Boulez just isn't a passionate enough conductor. It's more tidy than heartfelt.


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## DavidA (Dec 14, 2012)

Karajan in Die Walkure. Only part of his cycle I have. The BPO roar through the storms and whisper in the quieter bits. The cast is generally light, apart from Vickers at the top of his game, but sound well.

I also have HvK Mastersingers from Dresden. wonderfully spontaneous. Recommended


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## drpraetorus (Aug 9, 2012)

The problem I have with the Solti Walkure is Hans Hotter. He was, even at that time, past his prime as Wotan. His interpretation is wonderful but his execution is lacking. He tended toward bellowing and an uncontrolled vibrato. George London would have been a good choice to continue the role as he had begun it in Soltis Rheingold. Erich Leinsdorf did a Walkure with George London which is roughly contemporary with the Solti recording.


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## science (Oct 14, 2010)

leomarillier said:


> Levine's [DVD of Wagner's Ring] is not a favorite of mine at all, sorry. The unmatching of some singers' profile with their role is just too unacceptable for me. The singing performances are unique, but *the mere traditionalism covering the poly-meaning dimension breaks the spell according to me.*


Can you explain this to me more simply? I don't understand it.


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## Pip (Aug 16, 2013)

The most exciting Walkure is Karl Bohm from Bayreuth. It has now been remastered and the sound is tremendous. The singing is top notch - not a weak link. The remastering on eloquence is so cheap that you get the whole Ring for the price of mid priced recent Walkures. This Ring is solid from beginning to end and superbly conducted. All of the singers will impress you. They don' t make them like that any more.
If you insist on only a single Walkure, then Leinsdorf on Decca with Vickers and London is great, but the Bohm is a real "knock your socks off" tour de force.

For a DVD that will make sense to the first timer, who wants to see,more or less, what Wagner wrote, that has to be the Levine MET production. Most modern Wagner fans don't care much for it because it is very traditional - it has to rely on the music and the singers. AND it does so admirably. Don't let anyone tell you different - it is well sung first to last and has some great interpretations.
As an alternative , the Barenboim Ring from Bayreuth has just been re-issued on Bluray at a very attractive price. It is still an engrossing experience.
The Chereau Ring also from Bayreuth ,which I saw in the theatre at the time and have also on DVD still has some powerful things to say, but some of it is now a little ridiculous in places(it was then also) whereas the Barenboim still holds up well.
As for non Ring operas, 
Meistersinger Karajan HMV
Lohengrin Kempe HMV
Tristan Furtwangler. HMV
Parsifal Knappertsbusch 1962 Philips


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## bigshot (Nov 22, 2011)

My objection to just about all of the Met Wagner operas I've seen on DVD is that they are very static. Characters just stand in place for long periods of time. At least Chereau has them move around the stage (and the Valencia ring carts them around in forklifts!)


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## Pip (Aug 16, 2013)

bigshot said:


> My objection to just about all of the Met Wagner operas I've seen on DVD is that they are very static. Characters just stand in place for long periods of time. At least Chereau has them move around the stage (and the Valencia ring carts them around in forklifts!)


That's the way we did it from the 1950s on. This was the essence of Wieland Wagner's genius. Combine with austere sets and incredible lighting, the music took over and we were transported to another plane. When someone did move it was very startling.
Unfortunately most of the producers who copied Wieland did not have his genius. What you have with these DVDs from the Met
is Otto Schenck as the producer and he was quite good. However if all you are used to seeing is Chereau, Küpfer and on then of course they will look very static.
However, I feel that most modern wagnerians don't have the patience WITH THE MUSIC without having a great deal of action to keep them occupied. With the recent Lepage Ring, one was constantly wondering what shape the "machine" would take next.
That is my point - it was too distracting. Mind you, with some of the singing in that Ring, it helped to be distracted.


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## quack (Oct 13, 2011)

Pip said:


> The most exciting Walkure is Karl Bohm from Bayreuth.


I can't remember if it is present in Die Walkure but in at least some of Bohm's ring you can hear the prompter. It creates a very annoying forward echo effect where you can hear the line before it is sung. I really like Bohm as a conductor and it is a very good bargain version but that echo drives me crazy.


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## Pip (Aug 16, 2013)

To anyone used to live opera, the sound of a prompter is part and parcel of the experience. One does not even notice it after a while.


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## bigshot (Nov 22, 2011)

Matti Salminen in Bohm's Tristan has a loud prompter. I never noticed it in the Ring.


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## bigshot (Nov 22, 2011)

Pip said:


> That's the way we did it from the 1950s on. This was the essence of Wieland Wagner's genius. Combine with austere sets and incredible lighting, the music took over and we were transported to another plane. When someone did move it was very startling.


Different mediums have different expectations. If you are watching a video, you expect interesting visuals. If a video is going to be static visually, you might as well play a CD.

I guess the problem is video producers who think just pointing a camera at the stage is enough. Personally, I don't consider standing there to be acting, and I don't consider a static camera setup to be producing a video.


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## SiegendesLicht (Mar 4, 2012)

The Ring: CD - Solti, DVD - why, Otto Schenk, James Levine and the MET of course.
Die Meistersinger von Nürnberg: CD - Theo Adam, Rene Kollo, von Karajan and Berliner Philarmoniker. DVD - James Morris, Ben Heppner, James Levine and the MET 
Parsifal: CD - Rene Kollo, Dietriech Fischer-Diskau, Wiener Philarmoniker and George Solti. DVD - Siegfried Jerusalem, Bernd Weikl Horst Stein and the Bayreuth Orchestra (staged by Wolfgang Wagner)
Lohengrin: CD - Jess Thomas, Christa Ludwig, Dietrich Fischer-Dieskau and the Wiener Philarmoniker conducted by Rudolf Kempe.

As concerns the other operas, I have no definite favorites yet.


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## DavidA (Dec 14, 2012)

SiegendesLicht said:


> The Ring: CD - Solti, DVD - why, Otto Schenk, James Levine and the MET of course.
> Die Meistersinger von Nürnberg: CD - Theo Adam, Rene Kollo, von Karajan and Berliner Philarmoniker. DVD - James Morris, Ben Heppner, James Levine and the MET
> Parsifal: CD - Rene Kollo, Dietriech Fischer-Diskau, Wiener Philarmoniker and George Solti. DVD - Siegfried Jerusalem, Bernd Weikl Horst Stein and the Bayreuth Orchestra (staged by Wolfgang Wagner)
> Lohengrin: CD - Jess Thomas, Christa Ludwig, Dietrich Fischer-Dieskau and the Wiener Philarmoniker conducted by Rudolf Kempe.
> ...


The DVD of Mastersingers points up the ludicrous nature of opera on DVD. Ben Heppner looks as if he should be playing Falstaff and both he and his intended look older than Pogner, their future father. 
It is well done though Levine is ponderous but it should be listened to as audio only unless you want your intelligence insulted.
Karajan / Dresden is wonderful - apart from the fact that the opera is an hour too long and there is that dreadful speech on holy German art at the end.


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## SiegendesLicht (Mar 4, 2012)

SiegendesLicht said:


> Die Meistersinger von Nürnberg: CD - Theo Adam, Rene Kollo, von Karajan and Berliner Philarmoniker.


Oops, I meant "and Staatskapelle Dresden" of course. My bad.


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## SiegendesLicht (Mar 4, 2012)

DavidA said:


> Karajan / Dresden is wonderful - apart from the fact that the opera is an hour too long and there is that dreadful speech on holy German art at the end.


But it is _realistic_! :devil:


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## NightHawk (Nov 3, 2011)

If you want to hear only instrumental Wagner you might think about Solti's Ring Without Words w Chicago Symphony - all the main set pieces are there from Entry of the Gods into Valhalla from Das Rheingold to Brunnhilde's Immolation and Final Scene of Gotterdammerung. There are numerous other orchestras and conductors who have recorded their own versions of the complete cycle. It is wonderful to hear very clearly the brilliant orchestrations. 

On another note: I just finished the Janowski/Staatskapell Dresden Ring cycle and am 'Wagnered out' for another year.


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