From: f1toyl@uta.fi (Topi Ylinen)
Newsgroups: rec.music.classical
Subject: Wagner's Ring: Solti still unrivalled?
Keywords: wagner ring solti
Date: 27 Jul 92 10:08:04 GMT
Distribution: rec
Organization: University of Tampere, Finland

I know this subject has been discussed almost TOO many times over the years
in this newsgroup (and at times in others as well) - I just wanted to 
contribute my honest opinion as a "modern-day listener" to the discussion,
since the topic seems to interest people even today. Many people here and
in RL ask about it.

The general opinion seems even today to favor Solti's Ring, which is quite
unusual since the recordings were made almost three decades ago. Digital 
recording technique was totally unheard of. The sound quality on Culshaw's 
production is, however, considerably better than on many newer Wagner 
interpretations. And the usual claims that "there is not a single weak link
in Solti's cast" and that Solti does not simply aim to show off in the 
standard orchestral passages but has put the uttermost effort into the less
known passages as well seem to hold true, too.

I was determined not to waste money to purchase the whole Ring since I thought
I would never appreciate the whole, but when I got the whole Solti set at 
bargain price minus extra 20% (my haggling skill or something), I changed my
opinion.

Here is my opinion of the separate dramas compared to each other (the versions
which I have listened this far):



1.DAS RHEINGOLD
Decca/Sir Georg Solti
Emi/Bernhard Haitink
DG/Herbert von Karajan
Eurodisc/Marek Janowski

I find it hard to believe that Culshaw's production (Solti) was recorded even
before 1960: at times it sounds almost better than the rest of the Ring. And I
quite agree that the cast of singers could hardly be bettered. I cannot find
anything worth complaining in the Decca Rhinegold - even if the age of the
recording can be clearly detected. 
Haitink's Das Rheingold was a slight disappointment. A clean, TOO clean 
performance, lacking the aggressive energy of Solti's version. Many dramatic
spots totally lack any dramatic tension. Of course, the
calm and solemn Prelude may sound more beautiful with sheer DDD sound. But I
certainly do not like Haitink's Alberich - to me he appears to be more speaking
than singing and yet he is one of the integral characters of Das Rheingold.
One definitely positive side about Haitink's Rhinegold is that it takes only
2 compact discs and thus is cheaper than some of its rivals. A purchase for one
who wants compact, digital, clean version even at the cost of drama and 
"Wagnerism".
Herbert von Karajan's Das Rheingold seems to be, curiously enough, the best in
his whole cycle. His cast of singers has never been this good - possibly only
G|tterd{mmerung coming even close. Stolze's Loge is a very interesting 
characterization which cannot be rivalled in its own category. The orchestral
playing is intense and quite flawless and the sound is much fresher than on
Solti's. However, Solti's is still competitive because of the "historical 
greats" as singers. An interesting detail, as pointed out by one critic, is
Solti's use of ADULTS screaming in the Nibelheim scene which does sound much
more striking the children's screams in Solti's set.
Eurodisc's Das Rheingold is a good performance with good singers. It only does
not have anything to compete with DG or Decca. I have heard _rumours_ that
disc has gone bankrupt - is this true? Hopefully not! The performance is 
superb, the quality of sound excellent and the whole set is quite flawless,
maybe not as "Wagnerian" as Solti's or von Karajan's, but much more dramatic
than Haitink's.


2.DIE WALK^RE
Decca/Sir Georg Solti
DG/Herbert von Karajan
Emi/Bernhard Haitink
DG/James Levine
Eurodisc/Marek Janowski (Only acts I&II - I borrowed this from a local library
		         just two hours ago)

It appears that Die Walk~re, the most recorded of the Ring cycle though it may
be, still is the most proving of the four dramas. Here is where the real 
difficulties lie - and the weaknesses of each interpretation.
Not even Solti's Die Walk~re is perfect. Most who are familiar with the subject
know what I am going to complain about: Hans Hotter's Wotan. Hans Hotter, who
is said to be more a bass than a bass-baritone singer, has definitely 
difficulties at times. His voice is very different from other Wotans and sounds
very nasal. Even his articulation is quite amusing - to speak the truth when I
first heard his singing in act III, I quite literally fell down laughing during
the Feuerzauber and "Wer meines Speeres Spitze f~rchtet...". One critic called
Hans Hotter "a ruined Wotan". I do not think it is THAT bad, I guess you can
get used to it - at least if you listen it before other Wotans. But it should 
not be taken lightly as some other critics do - Wotan is, after all, 
the central character of Die Walk~re. 
Moreover, the recording technique fails miserably at the end of the second act.
Br~nnhilde's and Wotan's interventions are not caught very well on tape/CD.
One other thing - a modern day listener is probably used to much faster tempi
than Solti's. This is very disturbing at the beginning of Act II and the famous
Walk~renritt may sound a bit slow too, if one is used to Maazelish hi-speed 
style. On the other hand, Solti's orchestra, strictly with original instruments
never lacks any dramaticism, even if the tempo is slow. 
Von Karajan's Die Walk~re is not an excellent version. It, along with his Sieg-
fried are the weak links of his whole cycle. His orchestral playing may be 
intense and powerful at the opening of Act III, but the final scene sounds too
rude and rough. It lacks the appropriate "magical" feeling. Von Karajan's cast
of singers begins to show some symptoms of decrease in quality. His Br~nnhilde,
for example, has at times major difficulties with high notes. But there are 
occasional stars, like Martti Talvela as Hunding, too.
Bernhard von Haitink's Die Walk~re is much more convincing than his Das Rhein-
gold. His Siegmund and Br~nnhilde are both very skilled and well characterized
and sound pleasing to that modern day listener - not to mention the real star,
James Morris, whom I consider the best of all Wotans. Haitink's tempi are quite
good and the major orchestral passages are very agreeable, spiced with digital
sound effects and digital recording technique. But there are some disappointing
spots in the less passages: one very disturbing is when Br~nnhilde sings "Auf
dein gebot..." (near the end of Act III) and either his basstrumpet or trombone
misplays a note. One other thing is that - I do not know the truth - but 
Haitink's version seems to be played with standard instruments, not original
ones. Thus, the brass section lacks the biting power of Contrabass Trombone
and Tuba. However, the cast of singers is very fine.
James Levine's version is, as far as orchestral playing is concerned, a very 
good one. Unfortunately, Br~nnhilde and especially Siegmund of his cast are not
quite up to par. Otherwise, a very competitive version, performed with original
instruments and quite successfully recorded - the Emi recording may
be just marginally finer.
I just a few hours ago borrowed the Eurodisc version from a local library and
have not got enough time to listen more than acts I and II yet. It seems to 
take after their Rheingold: nothing to complain about, but nothing really
spectacular either. I find even Theo Adam's Wotan more agreeable than Hotter's.


3. SIEGFRIED
Decca/Sir Georg Solti
DG/Herbert von Karajan
Eurodisc/Marek Janowski

It may be a good idea to contrast Solti's Siegfried with Karajan's - because 
they resemble pretty much each other. Only, there are two notable differences:
Culshaw's sound effects and "sonicstaging" on Decca while von Karajan has a
fresher, intense, pure instrumental playing. Secondly, while Solti has the
celebrated, unimitable Wolfgang Windgassen as Siegfried, von Karajan has only
just another "run-of-the-mill" tenor, who is (as Penguin books point out) 
even "outsung by Mime"! 
Janowski seems to lack dramatic tension - and biting brass power. Maybe he did
not have "original" instruments either? I think Matti Salminen
as Fafner sounds more dragonlike and menacing than B|hme (Solti),
 but Janowski's Siegfried and Br~nnhilde cannot even dream of ever beating 
Windgassen and Nilsson of Decca! 
Of the Wanderers (Wotan), each of these three has a good interpretation. Even
Hotter sounds much more acceptable than in Die Walk~re. Of the woodbirds, I 
must say that Karajan's woodbird sounds a bit breathy - because of the 
recording technique, I guess.


4. G\TTERD[MMERUNG
Decca/Sir Georg Solti
DG/Herbert von Karajan
Eurodisc/Marek Janowski

This is the real triumph of John Culshaw, Solti and Decca Records. No other
recording comes even _near_ Decca's G|tterd{mmerung! Not at least either of 
the two other I have listened completely. The recording offers us even 
today sweet strings, mellow woodwinds and biting brass section, which has not
been rivalled since. Not to mention the stars who cannot be rivalled: Wolf-
gang Windgassen, Birgit Nilsson, Dietrich Fischer-Dieskau and Gottlob Frick.
From the very beginning to the enthralling end, the feeling of drama is not
dispelled for a single second. Even "minor" passages hold the listener in 
suspense and the hypnotizing finale with Nilsson's Br~nnhilde leaves you
breathless.
Von Karajan's G|tterd{mmerung is not as badly marred as his Die Walk~re and
Siegfried, but it cannot seriously challenge Solti's. It simply lacks the 
dramatic tension and suspense. 
The same thing can be said of Janowski's G|tterd{mmerung. This most demanding
work of the Ring cycle seems to be too challenging for some of his singers and
the orchestral playing lacks low brass biting power (unlike Solti's) and 
fails to create any special atmosphere. Although I usually like Finnish bass
singers (not simply because I am a Finn myself), I think Matti Salminen is a
better Hunding or Fafner than Hagen - though he has probably improved since 
this recording. Janowski's  G|tterd{mmerung certainly does not have any 
"gimmicks" and is the most "un-Wagnerian" performance of the three. It is a
good performance but lacks the atmosphere.



I have not heard any of B|hm's live Ring cycle. I have heard Pierre Boulez' 
Die Walk~re which was quite ok, but not so outstanding that it should deserve
mentioning separately. If I were to make out my favourite Ring from the ones
I have heard, it would probably be a combination like this:

Das Rheingold:	1. DG(Karajan)	2.Decca(Solti)
Die Walk~re: 	1. Decca(Solti)	2.Emi(Haitink)
Siegfried:	1. Decca(Solti) 2.Eurodisc (Janowski)
G|tterd{mmerung: 1. Decca (Solti) 2. - none other -

If one wants a complete Ring, Solti's Decca Ring is (especially at its low 
price) as a whole above the rest. Only recording technique is a factor which
may yet cause its displacement. 


These opinions are mine, not any record company's or else's - though I know 
they may resemble many critics' opinions.


If only - if only LORIN MAAZEL conducted 
the whole Ring, with James Morris as Wotan...

You can always _wish_.

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