“ …the orchestra is generally – a first-class listening delight: with precise reference to the singers, emphasis of significant moments and magnificent soli in the...

“ …the orchestra is generally – a first-class listening delight: with precise reference to the singers, emphasis of significant moments and magnificent soli in the winds – transparent and never in an impasto-style despite all the dramatic excitement – thus Weigle leads his instrumentalists through this extensive world. The palette full of contrasts between lyrical moods and glaring attacks offered the most highly differentiated colors under his polished conducting. Music – “legible“ for the ears and always compliant with the stage. There was thundering applause for this truly excellent achievement.”- Olga Lappo-Danilewski, Giessener Allgemeine Zeitung

REVIEWS:

Among the singers, the real standout performance is from Eva-Maria Westbroek as Sieglinde. She has everything this part needs: warmth, passion, humanity, precision and stamina…her performance here alone compellingly justifies buying the set.

…this is a very fine Walküre…like the Rhinegold before it, this Walküre has the particular advantage of having Sebastian Weigle at the podium. His measured approach isn’t going to be to everybody’s taste, but he is one of the few Wagner conductors working today who does something distinctive with the music. His control of the orchestra is ideal, but so too is his intuition for giving the singers the freedom they need.

-- MusicWeb International

Not having heard of any of these singers and little of the conductor, I did not anticipate the high quality of this performance. Although, to my knowledge, none of the above could be described as international stars, they have combined to produce a Walküre that is greater than the sum of its parts—I find it absorbing from start to finish, partly because the singers are always on message.

The recording balance is just about perfect. The singers even sound like they are on stage and although the orchestra, which plays very well, actually seems to be in front of them, they can always be heard. It’s like having a first-row seat.

In act II, one adjusts quickly to the fact that Susan Bullock isn’t Birgit Nilsson, but “Hojotoho!” is but a small fraction of what Brünnhilde sings, and having a somewhat strident top doesn’t hurt at all in her two important scenes—the long ones with Wotan in acts II and III. Both have a conversational quality to them; once again, one senses the characters reacting to each other instead of merely banging it out. On the other hand, she makes a few unpleasant sounds early in act III when she helps Sieglinde to escape to the forest, but these are mere vocal warts. Terje Stensvold may not be, say, Hans Hotter, but he’s that kind of Wotan, one who can convey emotion in his voice—you know what Wotan is thinking...Martina Dike is a strong Fricka and, as a bonus, we get a set of Valkyries that can hold their own with anybody’s. I have already alluded to the vivid sound (on the dry side, thanks to the audience) and great playing. I was so surprised by my reaction to this set that I A-B’d it against the second acts of Dohnányi, Furtwängler/Vienna, Haitink, Karajan, Levine, and Solti. I have my favorites but I could live with any of them and, basically, Weigle holds his own.

-- Fanfare