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Thread: How many Rings do you have?

  1. #256
    Senior Member annaw's Avatar
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    Quote Originally Posted by The Conte View Post
    The wealth of orchestral detail in the cycle is such that every collection should have a recording in modern stereo sound so that one can hear as much of that detail as is humanly possible on a recording. I think Barenboim's recording is the greatest one of the cycle from the last 50 years (if not back quite as far as 1958!) I have said elsewhere that whilst all Rings have less than perfect casting overall, I think the most important element is the conductor as it is crucial that the whole be organic and that the transitions between sections of the work are seamless. Barenboim understands that and I consider him on a par with Keilberth when it comes to convincing one that there is something right about his performance of the operas. Anne Evans and Nadine Secunde are probably the main weak points in the Barenboim set, but Tomlinson is the best Wotan since Hotter and I would say the same about Jerusalem's Siegfried. Von Kannen's Alberich is strongly characterised and whilst the cast overall aren't quite at the level of Bayreuth in the 50s or some of the 30s Met Ring singers, they aren't bad, far from it. In any case the shortcomings there are made up for by Barenboim's superb handling of the masterpiece. I much prefer it over the Solti and Bohm recordings even though the Solti has a better cast at his disposal.

    Is there a recording from the last 50 years which you would recommend?

    N.
    I haven't listened to Barenboim myself as I'm still stuck in the 50s Ring recordings (maybe I'm just reluctant to move on...) but does George London fit into the category "after Hotter"? From what I've heard, I feel I prefer London for his sensitive but still powerful interpretation and his voice sounds more 'majestic' to me. But then I like his rather dark voice and as I said, I haven't heard Barenboim's recording and thus I'm not quite fit to evaluate Tomlinson's Wotan.
    Last edited by annaw; May-16-2020 at 22:51.

  2. #257
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    Quote Originally Posted by annaw View Post
    I haven't listened to Barenboim myself as I'm still stuck in the 50s Ring recordings (maybe I'm just reluctant to move on...) but does George London fit into the category "after Hotter"? From what I've heard, I feel I prefer London for his sensitive but still powerful interpretation and his voice sounds more 'majestic' to me. But then I like his rather dark voice and as I said, I haven't heard Barenboim's recording and thus I'm not quite fit to evaluate Tomlinson's Wotan.
    Hotter and London were pretty much contemporaries in the role of Wotan/Wanderer. Tomlinson's is a shaggy voiced assay of the role with much characterisation. It leans towards sprechstimme rather than a lyrical approach to the music. His high notes are somewhat strained (he is a bass rather than the bassy baritone that Wagner wanted). I like his vocal acting, though. I'm not familiar enough with London's Wotan to really compare with Tomlinson. However, I was thinking from the late sixties on.

    N.

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  4. #258
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    Quote Originally Posted by The Conte View Post
    The wealth of orchestral detail in the cycle is such that every collection should have a recording in modern stereo sound so that one can hear as much of that detail as is humanly possible on a recording. I think Barenboim's recording is the greatest one of the cycle from the last 50 years (if not back quite as far as 1958!) I have said elsewhere that whilst all Rings have less than perfect casting overall, I think the most important element is the conductor as it is crucial that the whole be organic and that the transitions between sections of the work are seamless. Barenboim understands that and I consider him on a par with Keilberth when it comes to convincing one that there is something right about his performance of the operas. Anne Evans and Nadine Secunde are probably the main weak points in the Barenboim set, but Tomlinson is the best Wotan since Hotter and I would say the same about Jerusalem's Siegfried. Von Kannen's Alberich is strongly characterised and whilst the cast overall aren't quite at the level of Bayreuth in the 50s or some of the 30s Met Ring singers, they aren't bad, far from it. In any case the shortcomings there are made up for by Barenboim's superb handling of the masterpiece. I much prefer it over the Solti and Bohm recordings even though the Solti has a better cast at his disposal.

    Is there a recording from the last 50 years which you would recommend?

    N.
    I grew up listening the Solti version of the Ring so I am partial to it for sentimental reasons than really thinking that it is the most outstanding one of the last 50 years. I am only fond of Karajan's Die Walküre and not much else in his recording. I like the Goodall but it is in English; if it were in German I would probably pick it as it is a live recording. That's the reason I was asking earlier about the van Zweden.

    My favorite Rings are older than 50 years: Fürtwängler's 1950 Scala and Krauss' 1953 Bayreuth. I have not invested in the Keilberth 1955 Bayreuth one as it is expensive and I already have more Rings than the "norm" (perhaps not here).

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  6. #259
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    Quote Originally Posted by VitellioScarpia View Post
    I grew up listening the Solti version of the Ring so I am partial to it for sentimental reasons than really thinking that it is the most outstanding one of the last 50 years. I am only fond of Karajan's Die Walküre and not much else in his recording. I like the Goodall but it is in English; if it were in German I would probably pick it as it is a live recording. That's the reason I was asking earlier about the van Zweden.

    My favorite Rings are older than 50 years: Fürtwängler's 1950 Scala and Krauss' 1953 Bayreuth. I have not invested in the Keilberth 1955 Bayreuth one as it is expensive and I already have more Rings than the "norm" (perhaps not here).
    I chose 50 years because it is a good round number and it would mean not having to go into the respective merits of the pre 1970 recordings. I prefer Barenboim over Solti (and Bohm) as the conducting is more important in the opera for me than the cast and I don't like Solti's conducting of Wagner. (I often find that the Solti recordings have the best casts, but apart from in Strauss and Mozart I find Solti concentrates on small moments of drama rather than investing in the musical whole of a work.

    My favourite Rings are also older than 50 years Keilberth 53 and 55 (with Kna 57 and 58 getting honorable mentions).

    N.

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  8. #260
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    Quote Originally Posted by The Conte View Post
    I chose 50 years because it is a good round number and it would mean not having to go into the respective merits of the pre 1970 recordings. I prefer Barenboim over Solti (and Bohm) as the conducting is more important in the opera for me than the cast and I don't like Solti's conducting of Wagner. (I often find that the Solti recordings have the best casts, but apart from in Strauss and Mozart I find Solti concentrates on small moments of drama rather than investing in the musical whole of a work.

    My favourite Rings are also older than 50 years Keilberth 53 and 55 (with Kna 57 and 58 getting honorable mentions).

    N.
    Anyone has listened to the Naxos Bodanzky/Leinsdorf (only Walküre) set from the Met?

  9. #261
    Senior Member Sonata's Avatar
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    I own the complete cycles of:

    1) Barenboim
    2) Karajan
    3) Goodall
    4) Solti (or almost. I plan to purchase Siegfried in the next week or two)

    I own Haitink's Siegfried and Walkure, and a Keilberth Walkure.

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