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Das Rheingold (L'Or du Rhin)
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Hallé présente le dernier volet de leur collection à succès des opéras de Wagner. L'enregistrement live de leur performance acclamée au Bridgewater Hall capture tout le dramatise de l'interprétation scénique. Das Rheingold est conçu pour se libérer des concepts lyriques traditionnels en terme de chant et de choeur et est présenté comme la plus épique « oeuvre de festival », liant les éléments dramatiques grâce à l'utilisation de motifs musicaux.
Wagnerian music, which has always generated controversies, provokes, by its musical form, the poetic argumentation and the titanic instrumentation, on the one hand, the irritation that it generates in the tradition of conservative thought and, on the other hand, there It has a strong attraction to meet, listen to it, interpret it and, ultimately, to direct it and perform it. The English director Sir Mark Elder, who has already recorded three operas by Richard Wagner with the Hallé Orchestra, Die Walküre, Parsifal, Götterdämmerung, presents a new version of Das Rheingold, the first of the four operas that configures the cycle of Der Ring des Nibelungen. The Gold of the Rhine, in a direct, very expressive version of Sir Mark Elder, has the merit of entering, without a doubt, the inevitable voluptuousness with which the characters seduced and tormented by their passions live. It was recorded live at The Bridgewater Hall in Manchester in November 2016. These records begin the Wagnerian cycle of the Hallé Orchestra which will last for a few years, without any symptoms of exhaustion, as evidenced by the abundant live recordings, all of them superb Sir Mark Elder has created a precedent with his Wagnerian recordings, an example of the many magical moments that will be created in his future work. As the reader already has to know, the history of the Der Ring der Nibelungen cycle refers to the struggles of the gods, heroes and other mythical figures who strive to possess the magic ring that grants power, destructive force and lust of power. The work the soloists have done is excellent. The most notable is the Alberich by Samuel Youn. The color of her voice is spectacular. Iain Paterson plays Wotan with a lot of comfort on the defensive. Wotan will not be relevant until later. The convincing Susan Bickley, in the character of Fricka, from his first entry, becomes a true goddess of singing. And the soprano Emma Bell, like Freia, makes a formidable interpretation. Regarding the English orchestra, it is necessary to say that the metal section is spectacular, to give a significant example. The truth is that the whole orchestra acts with majesty to bring Wagner's musical strength to the listener. Elder knows how to extract the best and best of his orchestra: he knows how to shape and rhythm each scene, recreate wonderful textures and highlight the relevant details of the instrumentation. The musical achievement is very satisfactory; This is a new, transcendental recording. --Sonograma Magazine
More than a decade ago I reviewed what I believe was Sir Mark Elders first foray into the realm of Wagner. He turned out to be a splendid Wagnerian, which has later been confirmed by various complete sets on the Hallé label. The Hallé are certainly a fully-fledged Wagner orchestra and I cant resist quoting myself eleven years ago: There is an admirable homogeneity of sound, both as a total experience and within the different departments. The strings are warm and silvery, the brass is sonorous and punchy and the woodwind blend beautifully. This is in evidence everywhere here too, and the excellent recording contributes greatly to let the orchestra blossom whenever there is an opportunity. Mostly of course in the purely instrumental music, and there is a lot of that. What is especially noteworthy is Sir Marks skilful handling of dynamics. The very opening is a classical example, taking us from an inaudible start, expanding organically in a relentless crescendo up to the rise of the curtain. To achieve this the conductor has to judge the dynamics so that the tension is constantly heated, with no slacking of intensity. The audience should, literally be sitting on the edge of their seats and feel the sweat pearling on their collective forehead. The interlude before scene 2 is truly spectacular, where the music is a kind of equivalent to a continuous camera-tracking from the bottom of the Rhine to the top of the mountain where Wotan and Fricka are still asleep. I noted the same scrupulous gradations in Asher Fisch s epoch-making first Australian Ring issued some ten years ago, and returning to my review of Das Rheingold I found that I had made almost identical descriptions of his handling of the orchestra. Generally I feel that there are several similarities between Fisch and Elder, which is a recommendation in itself. Elder has an excellent trio of Rheinmaidens, their voices blending beautifully in the concerted passages and individually also very attractive. Samuel Youn s dark and menacing Alberich can be compared favourably also with his counterparts on the legendary Solti, Böhm and Karajan sets and is vocally superior to Theo Adam s expressive but wobbly dwarf on the in many respects highly recommendable Haitink set. Iain Paterson can be quite impressive, he also has an attractive lyrical restraint in many passages, making him very human. Susan Bickley s Fricka has been hailed before and she certainly stands with the best in a very competitive field. Emma Bell does what she can with Freja s rather nondescript role, while Reinhard Hagen and Clive Bayley s giants are really towering experiences. David Stouts Donner is the usual hothead always brandishing his dreaded hammer and he sings impressively his Schwüles Gedubst schwebt in der Luft (CD 3 tr. 10) and David Butt Philip shines in Froh s Zur Burg führt die Brücke. Possibly the best two impersonations are Will Hartmann s Loge and Nicky Spence s Mime. Both are superb character tenors with wide pallets of vocal colours and full arrays of expressive nuances. They are both in the Graham Clarke division, which is praise indeed. The only weak link is Susanne Resmark s uncharacteristically shaky and colourless Erda, but her solo takes a mere 5:32 and she also makes amends with some brilliant forte singing. The finale is magnificent and the ovations that follow are understandable. This is a Rheingold that is well worth adding to anyones collection. --Musicweb
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My initial impression was that here was a conductor who was a product of his time with ENO and the London Coliseum, not least the legacy of great Wagner performances under the baton of Sir Reginald Goodall. Elder is not quite as leisurely as the older conductor but isn't a great deal quicker. He seems to savour moments, transitions and details in the orchestra as much as his predecessor, and more I think than many recent Wagnerians. Take for instance Wotan and Loge’s descent into Niebelheim, which in its measured approach is as terrifying as I have ever heard it........truly a fall into an industrial hell-hole. And listen to the careful build-up to Donner’s summoning of thunder and lightning near the end of the opera....although as is often the case alas the striking of the anvil is a bit underwhelming....forever spoiled by Decca engineering!
All this wouldn’t count for a great deal if it wasn’t backed by intelligent singing from his cast. Ian Patterson majestic and firm, although not without moments of cunning forethought as Wotan; Will Hartmann as a ‘well-sung’ Loge, yet not without craftiness in his characterization; Samuel Youn as a not especially ‘black’ sounding Alberich, but again a lot of the role is evenly produced without ‘barking’.(That said I could have done with more pure evil in his voice as he curses love in relieving the Rhinemaidens of their precious gold). Meanwhile, whilst female voices don’t figure heavily in the work Susan Bickley makes a lot of the comparatively little opportunity presented to her as Fricka.
I have criticized the Halle label’s Bridgewater Hall recordings in the past but either the engineering is improving, or I ‘m becoming more used to the acoustic, since I found little to quibble at here. In fact there seemed to be a good blend of detail, and great washes of sound, which was impressive.
No one recording of this work will do. Collectors will groan I know at this because of the expense involved, but with a work as important and significant as The Ring, isn’t it worth it?
Perhaps then not a first choice Rheingold....... but certainly one high on the list of possibles. Hear it if you can.