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Das Rheingold
When Herbert von Karajan stepped onto the podium to conduct Das Rheingold at the reopening of the Bayreuth Festival in 1951, it marked not only a musical event of significance, but a symbolic moment of renewal for German cultural life. After the devastation of the Second World War and the festival's troubling associations with the Nazi era, Bayreuth's return—with Karajan at the helm—signaled a bold reimagining of Wagner's legacy. Karajan approached the score with lean transparency and tightly controlled dramatic pacing, favoring clarity over excess, and transforming the prelude into something both ceremonial and cleansing.
The cast assembled for this historic occasion was nothing short of stellar. While the spotlight fell on the leads, even the smaller roles were occupied by artists of great stature:
Sigurd Björling, as Wotan, possessed an imposing vocal instrument, though his interpretation leaned more toward rigidity than nuance. Still, the sheer sound he produced suited the monumental scale of the occasion, and his presence gave weight to Karajan's vision of the gods as flawed, all-too-human figures on the brink of collapse.
Track List
1. Vorspiel
2. Weia! Waga! Woge, du Welle
3. Lugt, Schwestern! Die Weckerin lacht in den Grund.
4. Der Welt Erbe gewänne zu eigen
5. Wotan, Gemahl, erwache!
6. Vollendet das ewige Werk!
7. Hilf mir, Schwester! Schütze mich, Schwäher!
8. Sanft schloß Schlaf dein Aug'
9. Zu mir, Freia! Meide sie, Frecher!
10. Endlich Loge!
11. Immer ist Undank Loges Lohn!
12. Hör', Wotan, der Harrenden Wort!
13. Über Stock und Stein zu Tal stapfen sie hin
14. Auf, Loge, hinab mit mir!
15. Hehe! Hehe! Hieher! Hieher! Tückischer Zwerg!
2. Weia! Waga! Woge, du Welle
3. Lugt, Schwestern! Die Weckerin lacht in den Grund.
4. Der Welt Erbe gewänne zu eigen
5. Wotan, Gemahl, erwache!
6. Vollendet das ewige Werk!
7. Hilf mir, Schwester! Schütze mich, Schwäher!
8. Sanft schloß Schlaf dein Aug'
9. Zu mir, Freia! Meide sie, Frecher!
10. Endlich Loge!
11. Immer ist Undank Loges Lohn!
12. Hör', Wotan, der Harrenden Wort!
13. Über Stock und Stein zu Tal stapfen sie hin
14. Auf, Loge, hinab mit mir!
15. Hehe! Hehe! Hieher! Hieher! Tückischer Zwerg!
16. Dem Haupt fügt sich der Helm
17. Nibelheim hier: Durch bleiche Nebel
18. Hieher! Dorthin! Hehe! Hoho!
19. Was wollt ihr hier?
20. Wen doch faßte nicht Wunder, erfährt er Alberichs Werk?
21. Ohe! Ohe! Schreckliche Schlange
22. Da, Vetter, sitze du fest!
23. O schändliche Schmach! Daß die scheuen Knechte
24. Bin ich nun frei?
25. Fasolt und Fafner nahen von fern
26. Gepflanzt sind die Pfähle nach Pfandes Maß
27. Weiche, Wotan! Weiche!
28. Hört, ihr Riesen! Zurück, und harret
29. He da! He da! He do!
30. Abendlich strahlt der Sonne Auge
31. Rheingold! Rheingold! Reines Gold!
17. Nibelheim hier: Durch bleiche Nebel
18. Hieher! Dorthin! Hehe! Hoho!
19. Was wollt ihr hier?
20. Wen doch faßte nicht Wunder, erfährt er Alberichs Werk?
21. Ohe! Ohe! Schreckliche Schlange
22. Da, Vetter, sitze du fest!
23. O schändliche Schmach! Daß die scheuen Knechte
24. Bin ich nun frei?
25. Fasolt und Fafner nahen von fern
26. Gepflanzt sind die Pfähle nach Pfandes Maß
27. Weiche, Wotan! Weiche!
28. Hört, ihr Riesen! Zurück, und harret
29. He da! He da! He do!
30. Abendlich strahlt der Sonne Auge
31. Rheingold! Rheingold! Reines Gold!
Customer Reviews
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5.0
Based on 2 reviews
✓ Top Reviewer
Romania
✓ Verified Buyer
United States
A fantastic performance with enjoyable (at least not objectionable) sound.
Before buying this recording from Andy I was terrified of dismal sound for this opening performance of the new Bayreuth Ring. The sound is actually quite good, much better than I had heard on other releases, including the old Melodram LPs. Well, not great, but full enough to enjoy the performance without thinking about its limitations. The anvils are fantastic, better than in 1953 with Keilberth and Krauss, and of course infinitely superior to the stupid Theremin electronic sounds that Wieland Wagner substituted starting in 1955. Poor grandfather turning in his grave: Richard had taken great care annotating the anvil chorus in the score. (Not unrelated is the odious Theremin also substituting for the Parsifal Bells). For those opera lovers who value the younger Karajan in all his energy, passion, and monomaniacal devotion to dramatic flow, this is a monumental recording. Things got out of hand later, when Herbert took control of mixing the sound of his recordings and muddied up the spontaneity of his live performances. Curious bit: Fricka had to learn her role in 24 hours because the original singer went to hospital. Ira Malaniuk does a great job despite some false entrances. Highly recommended.
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