Der Ring des Nibelungen
Live recording in mono from
Festspielhaus Bayreuth
1956
Conductor: Hans Knappertsbusch
Chor und Orchester der
Bayreuther Festspiele
Das Rheingold
August 13, 1956
Wotan Hans Hotter
Donner Alfons Herwig
Froh Josef Traxel
Loge Ludwig Suthaus
Alberich Gustav Neidlinger
Mime Paul Kuen
Fasolt Josef Greindl
Fafner Arnold van Mill
Fricka Georgine von Milinkovic
Freia Gré Brouwenstijn
Erda Jean Madeira
Woglinde Lore Wissmann
Wellgunde Paula Lenchner
Floßhilde Maria von Ilosvay
Walküre
August 14, 1956
Siegmund Wolfgang Windgassen
Sieglinde Gré Brouwenstijn
Wotan Hans Hotter
Brünnhilde Astrid Varnay
Hunding Josef Greindl
Fricka Georgine von Milinkovic
Gerhilde Paula Lenchner
Ortlinde Gerda Lammers
Waltraute Elisabeth Schärtel
Schwertleite Maria von Ilosvay
Helmwige Hilde Scheppan
Siegrune Luise Charlotte Kamps
Grimgerde Georgine von Milinkovic
Roßweiße Jean Madeira
Siegfried
August 15, 1956
Siegfried Wolfgang Windgassen
Mime Paul Kuen
Brünnhilde Astrid Varnay
Wanderer Hans Hotter
Alberich Gustav Neidlinger
Fafner Arnold van Mill
Erda Jean Madeira
Waldvogel Ilse Hollweg
Götterdämmerung
August 17, 1956
Brünnhilde Astrid Varnay
Siegfried Wolfgang Windgassen
Hagen Josef Greindl
Alberich Gustav Neidlinger
Gunther Hermann Uhde
Gutrune Gré Brouwenstijn
Waltraute Jean Madeira
Woglinde Lore Wissmann
Wellgunde Paula Lenchner
Floßhilde Maria von Ilosvay
1. Norne Jean Madeira
2. Norne Maria von Ilosvay
3. Norne Astrid Varnay
Golden Melodram, GM 1.001 14 CDs ADD
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Review by Jesús García

I must admit that I am a new Wagnerian, so I would like to excuse myself if my comments are not so good as some others that I have read in this site. My first Ring has been the Solti one. After listening to some other cycles I decided to buy this one about which I am going to write a few words, because it has been a grateful experience.

Hans Knappertsbusch is, of course, the main argument of this recording. Many things have been said about him as a true successor of the authentic Wagnerian conducting school: his performances are usually qualified as massive and teutonic and many times the experts have spoken about his particular shifting of the tempi. In my particular oppinion all these things can be appreciated in this recording from the first chord the last one. I wouldn't like to reproduce here the comments of Herr Franz Braun, president of the Knappertsbusch Society of München, who comments on the recording in an excellent booklet contained in the 14 CD box. The alternative changes of tempi and the explosive power with which the orchestra faces some passages contribute to create a mythical and heroic atmosphere. From that point of view this recording is a reference.

The cast is also outstanding:

Could someone find a better Wotan than Hans Hotter? If we agree that this role is the stone on which the whole structure rests, we'll also realize that Astrid Varnay and Wolfgang Windgassen give the recording a tremendous consistency, well helped by other great singers: Paul Kuen's Mime and Gustav Neidlinger's Alberich are simply references in his roles together with Griendl's Hagen or Suthaus' Loge, to name a few, the most relevant singers.

Astrid Varnay's Brünnhilde is also a strong point in this recording. She owned a great voice, very different to Nilsson or Flagstad (my favourites), that allowed her to perform mezzo roles. I was willing to listen to her in this role. This was truly satisfactory, perhaps I'd rather hear her in Siegfried or Götterdämmerung. I find some points in common with Mödl.

Windgassen is truly the best after-war Heldentenor. He chanced to sing both Siegfrieds and Siegmund in a marathonian Bayreuth for him. I wanted to listen to his Siegmund (usually commended to heavier heldentenors, specially with Varnay's Walküre). His treatment of the role was magnificent. His Siegfried, simply legendary.

Finally, I would invite you to listen to this Bayreuth's Siegfried. It could change the mass oppinion about this opera. As I have read, it is the less favoured of the Ring. So please, listen to it carefully and you'll find one of the greatest Wagnerian love duets ever sung.




This review is from the now closed Wagner on the Web and it is published without the author's consent. I haven't been able to get in touch with him. If the author reads this, please contact me as soon as possible. If you don't want it here, I'll take it of the site immediately.