Listen to a Sample:

Pros:

• The genius of Knappertsbusch Ring Cycle is that he never got stuck on finding the definitive interpretation. Every year he would return to Bayreuth with a new take, new tempi and a sense of in-the-moment discovery. His approach is particularly text-driven, and he extracts from the orchestra something more important than dynamics and articulation - intention. The result is an orchestration that comes close to realizing Wagner's vision of a true Greek chorus.
• After many years perfecting the role of Brünnhilde, Astrid Varnay has hit her stride and tackles the part with abandon and profound insight.
• Hans Hotter is strong as the Rheingold Wotan, but the demands of the Cycle catch up with him in Walküre and Siegfried. Still, he remains committed, and paints a balanced picture of a flawed man caught up in his own ambition.
• Leonie Rysanek and Jon Vickers set the stage ablaze as Siegmund and Sieglinde.
• Josef Greindl is a triple-threat as Fafner, Hunding and Hagen, delivering menace in each of those roles.
• As was the practice in Bayreuth, the smaller roles are filled out by some remarkable talent, particularly the Freia and Gutrune of Elisabeth Grümmer, Rita Gorr's definitive Fricka, Sándor Kónya's Froh and Jean Madeira's Waltraute.
• If you are a fan of great character tenors, Gerhard Stolze's Mime will be worth the price of the whole Cycle.

Cons:

• None to mention.

In Mono

OD 12044-14