Wagner Die Walküre- Act 3
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Wagner
Label: Historic Series
Magazine Review Date: 9/1991
Media Format: CD or Download
Media Runtime: 71
Mastering:
Stereo
ADD
Catalogue Number: 425 986-2DM
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Tracks:
Composition | Artist Credit |
---|---|
(Der) Ring des Nibelungen: Part 2, '(Die) Walküre' |
Richard Wagner, Composer
Richard Wagner, Composer |
Author: Alan Blyth
I regret that I found little joy in re-acquainting myself with this performance, which was rather in the nature of a trial run for the Solti Ring. Listening to it so soon after Goodall's account of the whole opera (EMI, 7/91), I soon realized why neither conductor admired the other's Wagner when they were colleagues at Covent Garden. Solti's approach, at least in 1957, is choppy, wanting the line and Wagnerian Klang Goodall so admirably provides. The orchestral playing, with the brass given its head, is often coarse, emphasized by the rather confined recording. Speeds alternate between the static (the Farewell fairly lumbers along) and hectic. Nothing of the piece's inner meaning is conveyed.
Flagstad remains a formidable, experienced Brunnhilde, in amazingly strong voice for a woman in her sixty-third year. As she is given the most prominent billing, it would appear it is for her that the recording has been reissued, but truth to say her voice, for all its remaining beauty, traverses the role in a somewhat unwieldly fashion, no match for her radiant, moving La Scala account under Furtwangler seven years earlier. She and Solti often seem a shade uncertain as to what the other will do. They aren't helped by Edelmann's wooden, pedestrian Wotan, firm in tone to be sure but blank in interpretation. Schech's wobbly Sieglinde is another liability. But the Valkyries are a well-chosen brood and Solti's whizzing pace for the Ride is certainly an excitement, if rather a superficial one. Not recommended, except for those who, very understandably, want the full Flagstad story.'
Flagstad remains a formidable, experienced Brunnhilde, in amazingly strong voice for a woman in her sixty-third year. As she is given the most prominent billing, it would appear it is for her that the recording has been reissued, but truth to say her voice, for all its remaining beauty, traverses the role in a somewhat unwieldly fashion, no match for her radiant, moving La Scala account under Furtwangler seven years earlier. She and Solti often seem a shade uncertain as to what the other will do. They aren't helped by Edelmann's wooden, pedestrian Wotan, firm in tone to be sure but blank in interpretation. Schech's wobbly Sieglinde is another liability. But the Valkyries are a well-chosen brood and Solti's whizzing pace for the Ride is certainly an excitement, if rather a superficial one. Not recommended, except for those who, very understandably, want the full Flagstad story.'
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