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Wagner : Der Ring des Nibelungen

4.3 étoiles sur 5 4 commentaires client

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Page Artiste Marek Janowski


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  • Wagner : Der Ring des Nibelungen
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Prix total: EUR 76,31
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Détails sur le produit

  • Chef d'orchestre: Marek Janowski
  • Compositeur: Richard Wagner
  • CD (16 avril 2012)
  • Nombre de disques: 14
  • Label: Rca Red Seal
  • ASIN : B006XOBFJC
  • Moyenne des commentaires client : 4.2 étoiles sur 5 4 commentaires client
  • Classement des meilleures ventes d'Amazon: 51.554 en Musique (Voir les 100 premiers en Musique)
  • Voulez-vous nous parler de prix plus bas?
    Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?

Liste des titres

Disque : 1

  1. Dir unweisen ruf ich's ins ohr - Staatskapelle Dresden
  2. Mein voglein schwebte mir fort
  3. Wohin, knabe, heisst dich dein weg?
  4. Kenntest du mich, kuhner spross
  5. Mit zerfochtner waffe wich mir der feige?
  6. Selige ode auf sonniger hoh'!
  7. Das ist kein mann
  8. Heil dir, sonne!
  9. O siegfried! siegfried! seliger held!
  10. Dort seh ich grane
  11. Ewig war ich, ewig bin ich

Disque : 2

  1. Welch licht leuchtet dort? - Staatsopernchor Leipzig / Chor der Sächsischen Staatsoper / Staatskapelle Dresden
  2. Treu beratner vertrage runen
  3. Es ragt die burg von riesen gebaut
  4. Zu neuen taten, teurer helde
  5. Willst du mir minne schenken
  6. O heilige gotter!
  7. Siegfrieds rheinfahrt
  8. Nun hor, hagen
  9. Wen ratst du nun zu frein
  10. Jagt er auf taten wonnig umher
  11. Wer ist gibichs sohn?
  12. Begrusse froh, o held
  13. Willkommen, gast, in gibichs haus!

Disque : 3

  1. Deinem bruder bot ich mich zum mann - Staatsopernchor Leipzig / Chor der Sächsischen Staatsoper / Staatskapelle Dresden
  2. Bluhenden lebens labendes blut
  3. Frisch auf die fahrt
  4. Hier sitz' ich zur wacht, wahre den hof
  5. Altgewohntes gerausch
  6. Hore mit sinn, was ich dir sage!
  7. Welch banger traume maren
  8. Was leckt so wutend
  9. Brunnhild'! ein freier kam
  10. Vorspiel
  11. Schlafst du, hagen, mein sohn?

Disque : 4

  1. Hoiho! hagen! muder mann! - Staatsopernchor Leipzig / Chor der Sächsischen Staatsoper / Staatskapelle Dresden
  2. Heiss mich willkommen, gibichskind!
  3. Hoiho! hoiho hoho!
  4. Heil dir, gunther!
  5. Gegrusst sei, teurer held
  6. Einen ring sah ich an deiner hand
  7. Heilge gotter, himmlische lenker!
  8. Helle wehr! heilige waffe!
  9. Gunther, wehr deinem weibe
  10. Welches unholds list liegt hier verholen?
  11. Vertraue mir, betrogne frau!
  12. Auf, gunther, edler gibichung
  13. Vorspiel
  14. Frau sonne sendet lichte strahlen
  15. Ein albe fuhrte mich irr

Disque : 5

  1. Was leid ich doch das karge lob? - Staatsopernchor Leipzig / Chor der Sächsischen Staatsoper / Staatskapelle Dresden
  2. Siegfried! siegfried! siegfried!
  3. Hoiho!
  4. Trink, gunther, trink
  5. Mime hiess ein murrischer zwerg
  6. In leid zu dem wipfel lauscht ich hinauf
  7. Brunnhilde! heilige braut!
  8. Siegfrieds trauermarsch
  9. War das sein horn?
  10. Hoiho! hoiho! wacht auf!
  11. Nicht klage wider mich
  12. Schweigt eures jammers jauchzenden schwall
  13. Starke scheite schichtet mir dort
  14. Mein erbe nun nehm ich zu eigen
  15. Fliegt heim, ihr raben!

Disque : 6

  1. Vorspiel - Staatskapelle Dresden
  2. Weia! waga! woge, du welle!
  3. He he! ihr nicker!
  4. Garstig glatter glitschriger glimmer! - janowski
  5. Lugt, schwestern!
  6. Der welt erbe gewann' ich zu eigen durch dich - Marek janowski
  7. Wotan, gemahl! erwache!
  8. So schirme sie jetzt
  9. Sanft schloss schlaf dein aug' - i
  10. Zu mir, freia! meide sie, frecher! - owski
  11. Endlich loge!
  12. Immer ist undank loges lohn!
  13. Umsonst sucht' ich
  14. Nicht gonn' ich das gold dem alben - owski
  15. Hor', wotan, der harrenden wort! - ski
  16. Jetzt fand ich's! hort was euch fehlt! - janowski
  17. Auf, loge! hinab mit mir!
  18. Hehe! hehe!
  19. Nibelheim hier

Disque : 7

  1. Wer halfe mir! - Staatskapelle Dresden
  2. Nehmt euch in acht! alberich naht!
  3. Was wollt ihr hier?
  4. Die in linder lufte wehn da oben ihr lebt
  5. Wen doch fasste nicht wunder
  6. Riesenwurm winde sich ringelnd!
  7. Nun schnell hinauf: dort ist er unser
  8. Da, vetter, sitze du fest!
  9. Wohlan, die nibelungen rief ich mir nah
  10. Gezahlt hab ich: nun lasst mich ziehn!
  11. Bin ich nun frei?
  12. Fasolt und fafner nahen von fern
  13. Halt! nicht sie beruhrt!
  14. Nicht so leicht und locker gefugt!
  15. Freia, die schone, schau ich nicht mehr
  16. Weiche, wotan, weiche!
  17. Hort, ihr riesen!
  18. Halt, du gieriger! gonne mir auch was!
  19. Was gleicht, wotan, wohl deinem glucke?
  20. Schwules gedunst schwebt in der luft
  21. Zur burg fuhrt die brucke
  22. Ihrem ende eilen sie zu
  23. Rheingold! rheingold! reines gold!

Disque : 8

  1. Vorspiel - Staatskapelle Dresden
  2. Wes herd dies auch sei, hier muss ich rasten
  3. Mud am herd fand ich den mann
  4. Friedmund darf ich nicht heissen
  5. Ich weiss ein wildes geschlecht
  6. Ein schwert verhiess mir der vater
  7. Schlafst du, gast?
  8. Der manner sippe sass hier im saal
  9. Wintersturme wichen dem wonnemond
  10. Du bist der lenz
  11. War walse dein vater
  12. Siegmund heiss ich und siegmund bin ich

Disque : 9

  1. Vorspiel - Staatskapelle Dresden
  2. Nun zaume dein ross, reisige maid
  3. Dir rat ich, vater, ruste dich selbst
  4. Der alte sturm, die alte muh'!
  5. So ist es denn aus mit den ewigen gottern
  6. In wildem leiden erwuchs er sich selbst
  7. Was verlangst du?
  8. Schlimm, furcht ich, schloss der streit
  9. O heilige schmach
  10. Als junger liebe lust mir verblich
  11. O sag! kunde, was soll nun dein kind?
  12. Raste nun hier, gonne dir ruh!

Disque : 10

  1. Siegmund! sieh auf mich! - Staatskapelle Dresden
  2. Zauberfest bezahmt ein schlaf
  3. Kehrte der vater nun heim!
  4. Wehwalt! wehwalt!
  5. Geh hin, knecht! knie vor fricka
  6. Hojotoho! hojotoho! heiaha! heiaha! (walkurenritt)
  7. Nach dem tann lenkt sie das taumelnde ross
  8. Schutzt mich, und helft in hochster not!
  9. Nicht sehre dich sorge um mich
  10. So fliehe denn eilig und fliehe allein!
  11. Steh! brunnhilde!
  12. Wo ist brunhild', wo die verbrecherin?

Disque : 11

  1. Hier bin ich, vater - Staatskapelle Dresden
  2. War es so schmahlich, was ich verbrach?
  3. Als fricka den eignen sinn dir entfremdet
  4. So tatest du, was so gern zu tun ich begehrt
  5. Wohl taugte dir nicht die tor'ge maid
  6. Und das ich ihm in stucke schlug!
  7. Leb wohl, du kuhnes, herrliches kind!
  8. Der augen leuchtendes paar
  9. Loge, hor!

Disque : 12

  1. Vorspiel - Staatskapelle Dresden
  2. Zwangvolle plage! muh ohne zweck!
  3. Hoiho! hoiho!
  4. Da hast du die stucken, schandlicher stumper
  5. Als zullendes kind zog ich dich auf
  6. Vieles lehrtest du, mime
  7. Einst lag wimmernd ein weib
  8. Und diese stucken sollst du mir schmieden
  9. Da sturmt er hin
  10. Heil dir, weiser schmied
  11. Hier sitz ich am herd und setze mein haupt
  12. Was zu wissen dir frommt, solltest du fragen
  13. Die stucken! das schwert! o weh! mir schwindelt!
  14. Verfluchtes licht!
  15. Heda! du fauler!

Disque : 13

  1. Bist du es, kind? - Staatskapelle Dresden
  2. Fuhltest du nie im finstren wald
  3. Her mit den stucken, fort mit dem stumper
  4. Notung! notung! neidliches schwert!
  5. Hoho! hoho! hohei!
  6. Vorspiel
  7. In wald und nacht
  8. Zur neidhohle fuhr ich bei nacht
  9. Mit mir nicht, hadre mit mime
  10. Fafner! fafner! erwache, wurm!
  11. Nun, alberich! das schlug fehl
  12. Wir sind zur stelle
  13. Dass der mein vater nicht ist

Disque : 14

  1. Aber wie sah meine mutter wohl aus? - Staatskapelle Dresden
  2. Meine mutter, ein menschenweib!
  3. Ha ha! da hatte mein lied
  4. Wer bist du, kuhner knabe
  5. Zur kunde taugt kein toter
  6. Wohin schleichst du eilig und schlau
  7. Was ihr mir nutzt, weiss ich nicht
  8. Willkommen, siegfried!
  9. Da lieg auch du, dunkler wurm!
  10. Vorspiel
  11. Wache, wala! wala! erwach!
  12. Stark ruft das lied

Descriptions du produit

In dieser Gesamtaufnahme des Rings kommt die Sorgfalt, für die Janowski so berühmt ist, besonders gut zur Geltung. Zusammen mit der Klangschönheit der Dresdner Staatskapelle hat dies zu einer Referenzeinspielung des Rings geführt.


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Commentaires en ligne

4.3 étoiles sur 5
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Meilleurs commentaires des clients

Format: CD Achat vérifié
Il est de bon ton de dénigrer cette interprétation, et pourtant...
Voluptueuse Sieglinde chantée par Jessy Norman
Ténébreux Hunding de kurt Moll
Immense Hagen de Matti Salminen
Classieux Siegmund de Siegfried Jérusalem

Si on est loin des voix d'airain de la glorieuse époque de l'après guerre, il n'en demeure pas moins vrai que cette distribution a du caractère. Bien sur les grands rôles, comme le Wotan de Adam ou le Siegfried de Kollo sont captés sur le tard, Ce dernier s'en tire néanmoins avec honneurs bien qu'il s'essouffle dans la dernière ligne droite.

Mais plus que ces chanteurs - sinon parfaits du moins vaillants -, Il reste le fabuleux orchestre de la Staatskapelle de Dresde, d'une précision inouïe, un ensemble de musiciens mus par une force collective, galvanisés par un chef allemand à la carrière exceptionnelle entre New-York Munich et Berlin. Il serait injuste de minimiser les qualités manifestes de cette interprétation contemporaine de la fameuse version Boulez, si belle en film, si moyenne à l'écoute. Non vraiment Cette nouvelle édition de ce ring est la bienvenue, surtout à ce prix. Elle reste une très bonne première approche avec une prise de son moderne et chatoyante qui met en avant l'un des meilleurs orchestre du monde.

Voila une version entre Georg Solti et Karl Boehm
2 commentaires 13 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Format: CD
À ce prix là, il n'y a pas à hésiter, certes Janowswi n'est pas Solti, mais il ne démérite pas plus que Haitink ou Levine....
L'orchestre de Dresde est merveilleux et la distribution plus qu'honnête..
Quant à Janine Altmeyer, si critiquée, elle colle parfaitement au rôle de jeune fille de Brunnehilde dans la Walkyrie, avec une certaine féminité dans la voix, ce qu'elle est sensée être dans le texte, ça change d'avec les Cantatrices/Sumo habituelles.
En tout cas ce Ring réserve de bien beaux moments pour un prix modique....
Remarque sur ce commentaire 10 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par PARSIFAL le 18 octobre 2013
Format: CD Achat vérifié
Un Ring de l'Est , un Ring d'avant la chute du mur et à ce titre d'un intérêt capital . Trouve t-on encore des Ring aussi intéressant ?
Bien amicalement.
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Par earthlingonfire TOP 500 COMMENTATEURSMEMBRE DU CLUB DES TESTEURS le 21 février 2012
Format: CD
Voici un témoin d'une époque révolue : une Tétralogie complète en studio avec un orchestre symphonique de premier plan. Après Decca (Solti et les Wiener Philharmoniker) et Deutsche Grammophon (Karajan et les Berliner), Ariola-Eurodisc et la VEB lançaient l'avant-dernier projet de ce type, avant qu'EMI ferme le ban avec Haitink et l'Orchestre symphonique de la Radiodiffusion bavaroise.
Orchestre de premier plan, donc, et au premier plan. Theo Adam laisse son seul Wotan de studio, Yvonne Minton sa seule Fricka. Et la distribution a d'autres atouts encore : Jessye Norman en Sieglinde, Salminen en Fafner et Hagen, Moll en Hunding, Jerusalem en Siegmund. Même Nimsgern présente une adéquation vocale assez enviable à Alberich. Seulement voilà, pas une minute de ces seize heures ne se libère d'un méthodisme pesant qui finit par produire un effet d'abstraction, pour ne pas dire d'inanité. Et cette impression ne fait que se renforcer avec l'entrée en scène de la Brünnhilde de Jeannine Altmeyer puis du Siegfried de René Kollo.
Reste donc la Staatskapelle de Dresde, dirigée avec une platitude désespérante, mais dont les chatoiements subjuguent d'un bout à l'autre de L'Or du Rhin, où ils suffisent à eux seuls à créer le climat juste, et dans Siegfried, où ils installent un clair-obscur fascinant. Quant à La Walkyrie, elle bénéficie en définitive d'un premier acte parmi les mieux distribués, même si les deux suivants, centrés sur Wotan et Brünnhilde, sont plus ennuyeux (encore que dans les Adieux, bien sûr, l'orchestre, une fois de plus...).
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.6 étoiles sur 5 36 commentaires
216 internautes sur 224 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The All-Purpose RING 25 février 2012
Par F. P. Walter - Publié sur Amazon.com
Format: CD Achat vérifié
You'll never hear a perfect RING. There are just too many variables, options, and difficulties, plus it's an organic entity that takes 15+ hours to stage. So the law of averages automatically kicks in: when you've got more things that can go wrong, more will.

And so it is with its multitudinous recordings. Among the live versions, the earlier ones (Furtwaengler, Krauss, Knappertsbusch) suffer from murky sound, while even those in decent stereo (Keilberth, Boehm, Sawallisch, Barenboim) feature thuds, clunks, and assorted live-performance anomalies that grow less endearing with each listening. As for the studio recordings, they're variously undermined by continuity problems (Solti, Karajan), subpar singing (Swarowsky), or deficiencies in tension and energy (Levine, Haitink).

Which brings us to this Marek Janowski set. I first reviewed it for Amazon in February 2005, and I'm now updating that review. One of the great unheralded achievements of the waning LP era, Janowski's was the first all-digital RING, recorded in just 2½ efficient years during the early 80s. Later the same decade it was the first version to debut on CD, at the top of the 90s a mid-price edition emerged, then a dirt-cheap reissue marked its first appearance in the 21st century ... and finally here it is again, pricewise an even more astonishing bargain. After several return visits down through the years, I'm ready to call it the cycle with the fewest things wrong and the most right.

First off, it's registered in clean, ungussied digital stereo of exceptional radiance and lucidity - massed strings can be a tad opaque, hinting at its pioneer status, otherwise the color and fine detail are ravishing, plus the whole event has the definite feel of being recorded in long takes: it offers the commitment and intensity of a live performance minus the wrong notes and stage noises. Second, it showcases lithe, athletic playing from Dresden's underpublicized but authentically great orchestra - strings turn on a dime, woodwind staccati are needle sharp, brass are lean and subtly integrated. In contrast to their only continental peers in this repertory - the Vienna PO with its creamy sweetness and the Berlin PO with its iron power - the Dresdeners favor sheen, transparency, and fast reflexes, lightning as well as thunder. Yes, they can whip up a glowering storm in the SIEGFRIED Act III prelude, but you'll never hear a Rhine journey with more wit, sparkle, and agility.

Janowski's propulsive conducting is invaluable for two main reasons. 1) Beyond projecting the RING's well-known tempests and tensions, he also puts over its comedy and irony - the teasing mischief of the Rhinemaids, the gallows humor during the valkyrie confab, the sad silliness of the nibelung squawkfest in SIEGFRIED II iii. 2) He's continually alert to Wagner's dramaturgy, to its narrative ebb, flow, and movement toward crisis. Janowski's pacing is ideal at the great turning points - Alberich stealing the gold, Erda's intervention when Wotan won't give up the ring (Solti is oblivious here), the mounting violence in Siegfried's meeting with the Wanderer (here Karajan is gingerly), the tension gathering under Siegfried's narrative in GOETTERDAEMMERUNG III ii as he incriminates himself step by step. This is purposeful, goal-oriented conducting that I suspect even Wagner himself would have admired.

The cast, too, is exemplary. For one thing, it's a true ensemble with the same talent staying on board to the finish: out of 12 recurring roles, 11 are single cast (sole exception: Mime, not fatally disruptive). Plus these singers, with unbeaten consistency, are both listenable and characterful. The set's original manufacturer, Ariola-Eurodisc, was a major player during the decade prior, recording both operatic rarities (Schubert, Orff) and standards (FIDELIO, CARMEN). Eurodisc had the budgets to sign up the biggest names, and here even bit parts can be stunningly cast - Kurt Moll as Hunding, Lucia Popp and Hanna Schwarz as Rhinemaidens, Cheryl Studer and Ruth Falcon as walkueren. A couple of the supporting players are routine - Stryczek's rough-and-ready Donner, Noecker's decently sung but undercharacterized Gunther - otherwise Siegmund Nimsgern is the optimum Alberich, a full-bodied character baritone with a genuine legato and a meaty high G, while Peter Schreier doubles Loge and the SIEGFRIED Mime with imagination, gusto, and (gasp) real singing.

And so it goes: Jessye Norman and Siegfried Jerusalem are a Sieglinde and Siegmund competitive with anybody's, Yvonne Minton a Fricka of icy loveliness, Ortrun Wenkel intense and specific as Erda and Waltraute, Norma Sharp cool and pretty as both Gutrune and the woodbird, while a young Matti Salminen turns in the most baleful Hagen since Frick - and a Fafner so innately cavernous, his dragon scarcely needs any special miking. As for the three leads, our Wotan is Theo Adam, who probably clocked more stage hours in the role than anybody in Wagner history. By the time of the recording he'd logged 22 RING seasons, but his high bass still has plenty to offer - interpretive savvy, trusty top notes, dead-center intonation. WALKUERE III iii finds the old pro in below-form voice, struggling for focus and steadiness; elsewhere, surprisingly, his sound is sometimes firmer than fifteen years earlier under Boehm (compare the "Abendlich strahlt" in RHEINGOLD). Overall he's a rugged, patriarchal Wotan and he catches the curve of the character superbly, politician, rageaholic, and shaman.

As his daughter Bruennhilde, California soprano Jeannine Altmeyer has been shamefully undervalued down through the years. I heard her LA Isolde in the mid 80s, and trust me, this is a big, carrying voice. Stack her against her recent peers: she has a fuller, steadier instrument than Behrens, a lovelier sound than Marton, the upper extension that Dernesch hadn't, and Jones's caterwauling is beneath discussion. No, she hasn't the slash and bite of dominatrix Bruennhildes like Nilsson and Varnay; instead she offers page after page of fresh, supple, centered sound, you pick the note. She's the aural equivalent of the young, willowy Bruennhilde in Arthur Rackham's watercolors, and it's high time we noticed: Altmeyer is the valkyrie easiest on the ears.

Lastly Rene Kollo's contributions are arguably his most valuable on disc. As John Culshaw once wrote, we must think of the younger Siegfried "as a youth instead of an adult," so dark-timbred tenors such as Melchior, Suthaus, and Windgassen can present big credibility problems. Kollo is near ideal: his silver sound is mainstream lyric tenor - even chest tones preserve a basic leanness and lucidity - but its fine-line definition means unexpected carrying power and maneuverability; in short, he's persuasively youthful yet he can cut through heavy orchestration. Some soft passages, though, catch him thinning the support out of the voice (e.g., "Es sangen die Voeglein" in SIEGFRIED I i), but it's still a splendid achievement, vividly phrased, both mercurial and meditative. And he's fine, too, as his elder self in GOETTERDAEMMERUNG, though not quite as indispensable.

All of which, taken together, accounts for this RING's front-to-back superiority - digital stereo of documentary directness and transparency; podium leadership that articulates narrative structure while projecting not only its passion and poignance but (rare indeed) its comedy and irony; and a repertory casting policy that generates both good sound and plausible characterization. Yes, a couple of the bit players are substandard, but the leads are astonishingly persuasive - Adam's leonine Wotan, Altmeyer's mellifluous Bruennhilde, and several who are arguably Best in Stereo: Kollo's Siegfried, Nimsgern's Alberich, Norman's Sieglinde, Schreier's Mime, Salminen's Fafner and Hagen. In short, it's the All-Purpose RING - ideal for the first-time listener who really hopes the epic will make sense, excellent for the score-in-hand professional who wants a clear, dependable reference edition that actually does what his score says. For me it's the version that has stood up best under repeated listening; so treat it as your basic set, then supplement it, if you like, with choice alternatives - Karajan's WALKUERE, say, or Solti's GOETTERDAEMMERUNG, or Krauss's mono edition.

Sony's bare-bones packaging offers cast and track lists but no synopsis or libretto. Not a problem. For under $20 Amazon can sell you WAGNER'S RING OF THE NIBELUNG by Stewart Spencer et al. (ISBN 0500281947), a reader-friendly modern translation complete with beneficial annotations, commentaries, and background material.
12 internautes sur 12 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Janowski/Dresden: Ring: Staying power? ... and then some ... a WOW sleeper .... 19 février 2013
Par drdanfee - Publié sur Amazon.com
Format: CD Achat vérifié
The other reviewers have pretty much hit their critical marks in discussing this set. All I have to add starts with echoing their steady, high praise.

Basically put, this by now familiar (if not also, venerable?) set has Staying Power. I first heard it when first released as a nicely boxed Eurodisc set of CDs. I listened for a while, then deleted it. At the time I was just having some difficulty with staying power of my own as a listener. I liked the familiar, famous, vivid Wagner moments for sure. But I found the long narrative stretches taxing. I decided for the time being that since I was not a native German speaker, I probably would always find the Ring a mix of wonderful plus boring.

So let me start right there.

The first truly outstanding draw of this set is the orchestra, hands down. The Staatskapelle Dresden is one of Europe's greatest, oldest orchestras, if not a world treasure. It was located in East Germany behind the infamous Wall for so many years that its reputation dulled or dimmed. But, for example, there simply was no musical reason for Dresden to be disrepected. Go back and listen to Kurt Sanderling leading their Brahms symphonies set. That one has had staying power, too.

A close second to the orchestra's abundant excellence is the sound. It is full frequency, widely staged, very nicely balanced with the singers, and just about as tonally rich and exciting sonically as any other recording I could name in the entire stereo era of recording arts. This sound quality matters, because if a listener starts paying attention, you hear and realize quickly how to Wagner the orchestra was one of the cast, if not the most important continuing member possible of the various opera casts that would inevitalbly end up doing his operas.

So sound quality and orchestra playing are two large foundations upon which all Wagner operas must rest for those of us who listen on sound carriers, instead of attending live opera. Make no mistake, this set will help show off your big home rig as much as any other set of recordings, including a high resolution encoding like Super Audio. Strangely enough, Marek Janowski has been contracted by one of the leading SACD labels (Pentatone, the high rez sound team from Universal/Philips in the Netherlands, gone enterpreneurial, off on their own), and his contract now includes nothing less than leading all of the Wagner operas in new super audio studio recordings. So far as the Ring cycle goes, I would suggest Janowski will have a very hard time casting his super audio Ring with anything near to the consistent vocal quality that was used in this set.

The bottom line vocally is pretty much what other reviewers have said. Enough super star voices were brought into the mix to leave a positive, lasting, distinctive musical impression. The three stars of the first act in Walkure, for example, have probably never really been bettered. Who outdoes Jesseye Norman singing Sieglinde? You may like other Siegmunds, indeed; but surely you cannot gainsay Jerusalem in this set? Hunding, sung by Kurt Moll, is just as substantial, gruff, and frightening as any opera manager could desire to employ. If you've latched on to Birgit Nilsson for Bruenhilde, as many listeners in the stereo era will have become convinced and attached, you will at first find Jeannine Altmeyer's soprano voice too light, though heard against any other vocal backdrop besides the completely unique Birgit N., she indeed holds her own. Stop comparing Altmeyer to Nilsson, and you will give yourself a nice chance to appreciate her singing on its own considerable merits. Heard from that other angle, I would join other reviewers in saying: Altmeyer does as much good with her voice, and inhabits the character of Bruenhilde well, all for the musical good.

The remainder of the ring casts are strong, too. Just catch Cheryl Studer glimmering there among the Walkure maidens! Our Wotan is east Germany's leading baritone-bass, Theo Adam. Yes, at times his voice does sound somewhat worn. It might help to recall that Wotan as a god in Wagner's operatic pantheon is a complicated figure, and per his text, Wotan has plenty of passing moments in the Ring cycle operas when he is world weary and despairing of his own omnipotence, bound as he is by his own godly oaths. If Wotan were to sound world weary, the end of Walkure when he is grieving Bruenhilde's disobedience and saying farewell to her, might not be all that surprising.

Finally, in this release occasion, the affordable pricing of the set matters. If you lament your limited budget for whatever reasons, this set is just not going to break your bank, steal from your kids' college savings, or mean you can never again have a pricey night on the town with your favorite date. The quality of the set, however, generally considered, means you will get more than you pay for, guaranteed. What's not to like here?

Now a post note, if readers will allow. I must say that I am not dissing all the fans of the late, great Birgit Nilsson. Yes, she was truly impressive on discs, especially in Solti's Ring set. Once and only once, I got to hear her live. The Met was performing in Dallas, Texas. A music lover gave the music department tickets, so a small group from our department was chosen to attend. One of the three operas for which we got tix was Puccini's Turandot. Sure enough, Nilsson was present, singing her memorable Turandot, partnered by tenor ..., conducted by Mehta. The whole thing was brilliant and wild. The company was performing in a huge, cavern of a building that was built in the WPA era to multiple use specifications. Aside from Met performances, it served as a very large exhibition hall. The hall was so large, in fact, that all the sound generated by all singers (soloists, plus chorus) plus the entire Met orchestra fiddling and blowing away furiously ... well the wall of sound simply rushed by all of us in the audience, then disappeared completely into the remaining expanse of the hall. These were uncanny moments, with all the music rushing past and no return reverberation. Except, that is, when Nilsson and the tenor lead were challenging one another in the Riddle Scene. Then all that singing and playing rushed over us into the hall's emptiness, and only the resounding soprano of Birgit Nilsson was large enough to traverse the hall and return to us. Chills. Musical shivers. All around. Next day we got to hear Sandor Konya singing Lohengrin.
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5.0 étoiles sur 5 INCREDIBLE! 23 avril 2016
Par Jon-Marc Wigent - Publié sur Amazon.com
Format: CD Achat vérifié
Where to begin. I had bought the latest incarnation of the Solti ring, which I had had since it came out on vinyl in the 60s. Since that time, I have had all of the incarnations on CD. So, when I heard about the latest up grade with high-def 24 bit, I grabbed it up. Only to hear no real improvement overall in the sound quality. It still shatters, in spots, on the high-end. But still a wonderful performance for the decade in which it was made. Then, I bought the Levine ring and was disappointed from the start. Hildegard Behrens' vibrato is so wide you could drive a truck through it, to the point you're not really sure what note she is singing. Then there is Reiner Goldberg. He simply does NOT measure up to demands of his role as Sigrefried. His voice is very tenuous on the high register. And last but not least is James Levine, who at times, seems tired of the whole thing; lacking forward movement etc.
Let me say that I grew up in New York city and went to the old Met as often as possible. I got hooked on Wagner at a very young age. So much so that I bought the score to Gotterdammerung.
Now, having said all of that, I come to this performance by Janowski. I really did not know what to expect. So, I was really surprised. The playing is beautiful-spot on. The singing is really good as well. The thing I noticed was that there is real acting in the singing of the various roles. The orchestral playing is transparent and, at times, down right voluptuous. The big moments are there as well. It is almost as if Janowski is looking down over the whole thing and not just the big stuff. I was taken aback at first by the lack of sound effects having been indoctrinated by the Solti recordings. But once I got past that I really started to hear the music for what it is. If there are any detractors in this set it would be Theo Adam as Voton. Not bad but seems as though he was nearing the end of his career. James Morris would have been great (oh, well!). Jeannine Altmeyer is good and holds her own but I find her to be an accrierd taste--not bad but not Nilsson (who is?). If you don't hear anything else from these operas listen to the first act of Valkure with Jessie Norman and Siegfried Jerusalem--UNBELIEVABLE!! It is worth the whole set.
Is this my last purchase for the Ring? Probably not. I mean to get the von Karajan set in the near future as well.
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5.0 étoiles sur 5 Another "Must Have" Ring Recording 3 septembre 2012
Par Mark E. Stenroos - Publié sur Amazon.com
Format: CD Achat vérifié
I owned this Ring in its initial CD release. It was one of those sets I gave a single listen to, put it on the shelf and eventually sold it off during a culling effort I undertook a couple of years ago. Since then, the set hasn't entered my mind...until I noticed it had been reissued by Sony at a ridiculously low price and remastered with 24-bit technology. The price was right, so I figured, WTH, might as well give it another chance.

Others have commented on this set's virtues. The best I can do is to second those praises. It really is an excellent Ring, a Ring that need not apologize at all when set against the now-stiff competition.

Pride of place goes to René Kollo as Siegfried. Kollo is hands down the best singer to have essayed both Siegfrieds in a studio Ring, bar none. His voice sounds young, strong and versatile. He is on his best vocal behavior - there is none of the grabbing in the throat that afflicts, say, his Walther for Solti on Decca. Here, the voice is well supported, almost floated on the breath. He is so far superior to all other Siegfrieds in the studio sets as to have the virtue of rendering those other sets no longer competitive. In fact, Kollo is far superior here than he was in the live Ring he recorded on EMI with Sawallisch. Those who have always found Windgassen to be a poor excuse for Siegfried should be surprised/overjoyed to discover Kollo in the part, especially as there's nothing in Kollo's past recordings that would have one expecting him to do the bang-up job he does here.

Jeannine Altmeyer is also an excellent Brünnhilde. Her German is a bit imprecise at points, but the singing and the vocal acting are tremendous. She is extremely vulnerable here, and while her high notes aren't on par with Nilsson, they are there and they are not embarrassing in any respect.

The casting is uniformly excellent. The playing of the orchestra is impressive. The conducting is on par with the greats. AND, the sound is really exceptional and clear.

I recommend purchasing this set before someone at Sony decides to delete too much of a good thing.

EDIT 5/6/14: I recently purchased the Eurodisc/Sony version of this Ring. That version - released in 2012, just like the version under discussion - features deluxe packaging, including the complete printed libretti for each opera. However, the recorded/remastered sound on that box is slightly less-good than the sound on this RCA Masters version. I must stress that the differences in sound quality are slight. That said, if your goal is the best sound possible, buy this set. If you want the libretti, super-nice packaging and sound that is only slightly less grand, go for the Eurodisc version.
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5.0 étoiles sur 5 A Personal Observation on the Artistry inherent in this fantastic RING 26 juillet 2012
Par Jim Lieberthal - Publié sur Amazon.com
Format: CD Achat vérifié
I am a big fan of the others who have taken time to write in depth reviews about this very special recording of the RING. Each one has much detail and specifics about this recording, so I will not repeat them here. I read them all before finally arguing with myself that I 'needed' a 23rd representation of THE RING in my collection. I believe the my collection of operas has more recordings of WALKUERE than any other opera. I approached this recording having owned the RCA CD of excepts. Nothing prepared me for the freshness of conception, beauty of tone, and depth of understanding in this RING, much more than a musical rendering of notes and tempi. Janowski understands. He truly does, and because of his innate understanding of the meaning behind the music, I feel that I am fed in a very special and careful way while the flow of the music is very personal. It is not like any other interpretation and therefore means even more to me, having grown up with VonKarajan/Solti, who seem to resemble each other as they dwell on similar wavelengths, though with differences in articulation. They both employ a mammoth orchestra and chorus to give us the most epic version possible. Huge voices dominate. This RING with Janowski, feels like the best quality one would find in an opera house with an large sized pit orchestra instead of a full Philharmonic. Yet the Staatskapelle Dresden is still one of the most famous and long lived ensembles to be found, and the way the musicians articulate Janowski's interpretation shows an aristocratic and knowing hand in the forming of this RING. I enjoyed so many parts of the performance and found myself continually surprised by the newness of the music when being put forward with care and a loving sense of fulfillment. The voices are almost all of middle weight. All of these singers I have followed since my school days and was quite aware of their careers. What a surprise to find a number of them in this music! Dramatic intent seems the guiding principal for everyone. The involvement is contagious. I find myself swept away by the intensity that is not forced, much more, allowed to unfold. I listened to quite a number of passages repeatedly, trying to take it all in. Happily, since I now own it, I can put it out whenever I would like. The biggest voices have a very special way with this music, yet they do not eclipse what I have found here. The specificity of pointing the words and the intentions behind the dialogues and monologues are among the very best. I would tell a lot of people to get this RING as a first one. Not an only one, yet at this price, this is a fantastic place to start exploring one of the few masterpieces in which I am open to hearing all who wish to share in this music.
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