Following the Walhall release of Wagner’s Die Walküre, the label closes its legendary 1958 Bayreuth Festival Ring tetralogy publication with the 1st, 3rd and final operas, led by the mid-20th c. Bayreuth pit regular and esteemed Wagnerian conductor Hans Knappertsbusch. The sound, benefitting from 24bit/96kHz re-mastering technology is great, far better than any other label’s previous issue, Walhall also reaping the sound reward from the use of the original broadcast mastertapes. Featured Wagnerian vocal luminaries include Hotter, Windgassen, Varnay, Konya, Grümmer, et al.

Following the Walhall release of Wagner’s Die Walküre, the label closes its legendary 1958 Bayreuth Festival Ring tetralogy publication with the 1st, 3rd and final operas, led by the mid-20th c. Bayreuth pit regular and esteemed Wagnerian conductor Hans Knappertsbusch. The sound, benefitting from 24bit/96kHz re-mastering technology is great, far better than any other label’s previous issue, Walhall also reaping the sound reward from the use of the original broadcast mastertapes. Featured Wagnerian vocal luminaries include Hotter, Windgassen, Varnay, Konya, Grümmer, et al.

The Walhall Eternity label is for the first time releasing in it's entirety the legendary 1959 Covent Garden Ring cycle of Richard Wagner conducted by Franz Konwitschny, performances that feature the finest Wagnerian voices of the 1950's, including Wolfgang Windgassen, Hans Hotter, Astrid Varnay, Ramon Vinay, Amy Shuard (student of Eva Turner and Covent Garden regular), Gottlob Frick and more. Franz Konwitschny's gripping interpretations lie comfortably between those of Fürtwängler's commanding heights supremacy and Solti's fire and spontaneity. Re-mastered 24bit/96kHz.

The general consensus over the past few years among music critics and the public at large is that everything the conductor Sir Simon Rattle touches "turns to gold". Everything with the exception of the music dramas of Richard Wagner, that is! The oft-repeated assertion here is that Rattle and Wagner do not go together, even though no good reasons have been furnished to support this. The third collaboration between Rattle and the Symphonieorchester des Bayerischen Rundfunks, together with a team of the very best Wagner singers, now conclusively proves the opposite. This concert performance of "Das Rheingold", the first opera in Wagner's mighty tetralogy "The Ring of the Nibelung", was performed live in the Herkulessaal of the Munich Residenz on April 24 and 25, 2015, and has now been brought out by BR KLASSIK on two CDs only a few months after the event.

No question about it: Rattle is a master of the Rheingold score, which is certainly a tricky one due to its closely interwoven ensemble of soloists and to the fact that the orchestra does not accompany events and flow round them in a lofty manner, as in other Wagnerian music dramas, but is also sometimes quite openly rebellious! Rattle has already impressively proven his expertise at handling the music of Wagner on two occasions: in 2004 in London, together with the Orchestra of the Age of Enlightenment, and in 2006 in Berlin with the Berlin Philharmonic. The fact that he is more inclined to conduct this "evil conversation piece, almost a black comedy" (as Robert Braunmüller described "Das Rheingold" in the Munich "Abendzeitung") with light and sometimes even dance-like inflections, and that he has the orchestra play with a great deal of colour and detail, shakes a little of the supercilious Wagnerian dust from this work, without in any way compromising the glittering brilliance of the musical sound. The soloists – all of them very good without exception - blend in completely with Rattle's fine interpretation, which is very much in the spirit of the drama.

Audiences and critics alike were unanimously delighted by the Munich concert performances. Even more than in the small Herkulessaal, which already enabled more intimate insights into the structures of the score and of the aesthetic created by Rattle, this listening experience on CD makes it clear "just how radically the avant-garde artist Richard Wagner composed in every single bar" (Reinhard J. Brembeck, "Sueddeutsche Zeitung").

At the most recent production at the Vienna State Opera, the twins were sung by Nina Stemme and - for the first time in the role - Johan Botha. Since then both soloists have enjoyed international success in even more dramatic Wagner roles. This CD release of the live performance of the first act is ideal for all those who are curious to hear more, but perhaps hesitate to get to grips with complete, modern performances of the Ring.

Bayreuth in the 1950s was annual summer home to the greatest cast of Wagnerian singers in the opera world, as the numerous and thankfully recorded performances from that house in that decade reveal. This 1957 performance of Wagner’s Die Meistersinger von Nürnberg has as its female lead Elisabeth Grümmer in the role of Eva, whom some argue was the character’s finest interpreter. Conducted by the fine French Wagnerian André Cluytens, other cast members include Gustav Neidlinger and Joseph Greindl. Complete on 4CDs; 24bit/96kHz re-mastered.

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

The distinctive point about Ormandy's version of the Midsummer Night's Dream music is that the vocal sections are given in German. On the sleeve the producer notes the significant point that in the Schlegel-Tieck translation "You spotted snakes" becomes "Bunte Schlartgen", and that Mendelssohn wrote it with two quavers instead of quaver plus two semi-quavers at the beginning of the phrase. It was for a Berlin performance that Mendelssohn wrote his extra incidental music, and therefore there is an historic case, too, for preferring Schlegel-Tieck to Shakespeare... [W]ith finely disciplined playing from the Philadelphians, Ormandy is a fraction heavier [than Previn and Leppard], less playful, but the discrepancy is slight, and with such glorious sound recorded fully and richly with plenty of inner detail, no one will feel disappointed... Both Previn and Leppard include even the briefest melodramas, where Ormandy omits three of them (No. 4 before the Intermezzo, No. 10 before the ironic "Funeral March" and No. 12 before the finale, all of them very brief). The last one consists of a fragment of the "Wedding March" fading into the distance to be followed by fairy music, and I am sorry to lose it. Instead Ormandy opts to transpose the Melodrama No. 8 to that point with a fragment of the "Nocturne" plus a radiant violin descant.

The casual listener may well not register any of these details, and certainly the Ormandy record, beautifully played and recorded, can be confidently recommended...

-- Edward Greenfield, Gramophone [6/1978, reviewing the original LP release of the Mendelssohn]

Following the release of the DVD box in the spring, OehmsClassics now issues the complete Ring from Frankfurt in the well-known design on 14 CDs. This complete version comprises the individual issues of the four operas with the Frankfurt Opera, produced and released during the years 2010-2012. This release is accompanied by a single CD with orchestral music from the Ring.

Creating excitement is the aim of this effective music with it's trombone attacks, bell tolls and horrors, sentimental cantilenas, sweet love duets and the famous overture: never was there the least doubt that Sebastian Weigle with the Frankfurt ensemble would succeed in bringing these off. With Rienzi, Oehms Classics now presents the last of the three operas attributed to the youthful years of Richard Wagner.

This performance, recorded on November 14, 1955, was part of the four-week festival that took place at the Vienna State Opera celebrating its reopening after having been destroyed near the end of World War II. Meistersinger had long been a Viennese favorite and was performed 65 times between 1949 and 1955 at the interim Theater an der Wien. It enjoyed luxury casting and great conductors: Clemens Krauss, Rudolf Moralt, Hans Knappertsbusch, Karl Böhm, Rudolf Kempe, and Fritz Busch. For the return to the State Opera, director Karl Böhm invited the Hungarian-born Fritz Reiner, a perfectionist who in the previous 20 years had gained a reputation as one of America's finest conductors. Rehearsals, it was said, were grueling; but judging from this recording it was worth the work.

You can tell much about the entire performance from Reiner's Prelude. It is precise, grand, and detailed, with frisky, playful chattering in the upper strings underpinned by a more muscular approach in the lower strings. But it never becomes aggressive or reckless enough to smash into the opening scene; it grows into it naturally. (Where else can such a complex expression end but in prayer?) Throughout the opera we're treated to spirited tempos and playing from the Vienna Philharmonic that Reiner slows down to good effect: The Fliedermonolog is relaxed and as soft as cotton; the prelude to Act 3 wafts in the air gradually and wistfully; the quintet is a moment frozen in time and is presented with great breadth. We can feel what each character is feeling, even if a couple of them don't have the breath to express it.

Beckmesser's false "prize" song is slow to start, and so is the unease and eventual laughter of the assembled crowd. And the real "Prize Song" is accompanied lyrically, with sweep up to the high points, after which Sachs' speech about German art comes as a powerful missive. What the Viennese of 1955 thought of it, with its nasty recent memories, is anyone's guess, but the opera ends with true joy erupting, and much of it has to do with Reiner's ability to balance light and heavy, upper joy with lower gravity--a great reading.

Paul Schöffler, the possessor of a voice that never sounded young, is tonally a bit dry here but nonetheless does not present Sachs as an old man; he is vital and sure of himself. Sachs is a man who prods fate a bit, just because he can, and Schöffler sings with the assurance and potency and shading of a man of wisdom, his voice gaining in strength as the opera progresses. And his pianissimo singing is always handsome, never resorting to falsetto. His is the best Sachs on CD, bettering his own performance under Knappertsbusch on Decca.

Hans Beirer's Walther is neither as sweet and ardorous as Sandor Konya's nor as simply gorgeous as Domingo's (for Jochum on DG), and in fact he sounds indisposed. But his indisposition is only vocal, and while I realize how odd that sounds, his beautiful phrasing and shading, sincerity, vigor, and musicianship make up for a lack of grand tone and some dry singing. It's a performance impossible to dislike.

I was put off by Irmgard Seefried's Eva at first--her second act is too cutesy and pert--but she grows into the part and is lovely in the third act despite lacking anything like a trill. Gottlob Frick's Pogner is important. His address to the Masters in Act 1 has real authority and he's warm and tender with Eva in the second act. Erich Kunz sings all of Beckmesser's notes (save the silly falsetto high-A that ends his monolog in Sachs' shop) and has remarkable "face"; while we don't exactly feel sorry for him at the end, he clearly is not entirely mockable either. The David of Murray Dickie also is almost visible, and he sings with an impetuous young man's certainty, his high-Bs ringing out easily and pointedly. Rosette Anday's Magdalene is stodgy and hectoring; Eberhard Waechter's Nachtigall is mellifluous; and the other Mastersingers bark just a bit too much.

The sound is Austrian Radio mono from 1955 but sounds 10 years younger--grand and able to cope with the big climaxes, clear in the ensembles, clean in quiet moments. Aside from the Kubelik version (various labels, including Myto, Calig, Arts) with Thomas Stewart, Konya, and Gundula Janowitz, and possibly Solti's second recording (Decca) with Ben Heppner, Karita Mattila, and (small-scale but impressive) José van Dam, this set goes to the top of the list.

--Robert Levine, ClassicsToday.com

There have been frequent attempts to get Wagner's Ring into a symphonic format. + However, the new version by Andreas Tarkmann does not only want to align the highlights, but to compress the opus to its very own orchestral drama – divided into four well-defined parts the quintessence of the Ring operas is clearer and the figures more finely depicted. + Tarkmann’s talent for concise escalation makes this version a special pleasure, lacking nothing essential in the entirely. + Despite minor compositional procedures, this symphonic "short-Ring" at any time remains 100% recognizable as Wagner.