WAGNER Das Rheingold
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Wagner
Genre:
Opera
Label: BR Klassik
Magazine Review Date: 10/2015
Media Format: CD or Download
Media Runtime: 143
Mastering:
DDD
Catalogue Number: 900133
Tracks:
Composition | Artist Credit |
---|---|
(Der) Ring des Nibelungen: Part 1, '(Das) Rheingold' |
Richard Wagner, Composer
Annette Dasch, Freia, Soprano Bavarian Radio Symphony Orchestra Benjamin Bruns, Froh, Tenor Burkhard Ulrich, Loge, Tenor Christian Van Horn, Donner, Bass-baritone Elisabeth Kulman, Fricka, Mezzo soprano Eric Halfvarson, Fafner, Bass Eva Vogel, Flosshilde, Mezzo soprano Herwig Pecoraro, Mime, Tenor Janina Baechle, Erda, Mezzo soprano Michael Volle, Wotan, Baritone Mirella Hagen, Woglinde, Soprano Peter Rose, Fasolt, Bass Richard Wagner, Composer Simon Rattle, Conductor Stefanie Irányi, Wellgunde, Mezzo soprano Tomasz Konieczny, Alberich, Bass-baritone |
Author: Mike Ashman
The Bavarians are in tune with the approach (and there’s significantly more colour and character here than in their late-1980s recording for Haitink – EMI, 12/89) and also manage to surf over that slight dip in stamina that any orchestra must feel ‘live’ after descending to Nibelheim for scene 3 with a good half of the opera still to accomplish.
Rattle’s cast (apart from Fasolt) has inevitably changed over the years and tends now to feature strong vocal actors evidently encouraged by their maestro. Michael Volle – who, like Tomasz Konieczny’s Alberich (Rattle’s Wotan this year in Vienna), does a fair amount of swapping between Wagnerian goodies and baddies – nails Wotan’s self-interest and short-sightedness from the beginning. He lacks the last ounce of bass depth to the voice but it’s already a compelling character. Konieczny is now a little too noble to be sheerly frightening in the two curses – and is allowed to laugh too much. Annette Dasch – already an established Elsa and Eva – counts as luxury casting as Freia and is genuinely sensual in her distress, so much more than just a dizzy flapper. Loge’s music is rightfully swift and well taken without mannerism by the experienced Burkhard Ulrich. Both he and the giants are given useful musical space to enjoy their texts and conflicting emotions.
The sound from Munich’s Herkulessaal is crystal clear, the balance of the voices almost ideal. Rattle and the orchestra’s percussionists make sure that we never feel cheated of special sound effects, concert or not. Hugely recommended – and would make a good modern companion to the historic 1950s Bayreuth broadcasts under Krauss (Pristine, 6/04R) and Keilberth (Testament, 1/07). The Thielemann performances from Bayreuth (Opus Arte, 1/10) and Vienna (DG) are finely conducted but their casts are not so well attuned as this one.
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