Wagner

Der Ring des Nibelungen

Bjoner, Roar, Adam, Cox, King, Rysanek, Fassbaender, Ridderbusch, Hofmann; Sawallisch
München, 1977

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Der Ring des Nibelungen

A very impressive cast was assembled for this Ring Cycle. Ingrid Bjoner, long associated with the Bavarian State Opera, delivers stunning performances as Brünnhilde, her powerful tones retaining a youthful sheen throughout. Jean Cox brings movie-star charisma to Siegfried; while his tone can be somewhat monochromatic, he never loses the lyricism of his voice, even under great vocal strain. Leif Roar's handsome baritone is an excellent fit for the Rheingold Wotan, while veteran Theo Adam draws on his extensive experience in the cycle for commanding portrayals in Walküre and Siegfried. A young Peter Hofmann offers one of the most beautifully sung Loges on record. Leonie Rysanek and James King rekindle their celebrated chemistry as Sieglinde and Siegmund. The rest of the cast is an embarrassment of riches: Brigitte Fassbaender as Fricka, Franz Crass as Fasolt, Zoltan Kélémen as Alberich, Kurt Moll as Hunding, and Astrid Varnay in a memorable turn as the first Norn.

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David R.✓ Top Reviewer

United States

Overall rating

Worthy Performances​ Make Up for Uneven Sound

I've reviewed each of these Ring operas individually so one can find more specific comments under the individual titles. These performances were not performed as a cycle, spread out as they were over six months or so (and out of order at that). All the same, if one loves the Ring these discs should be heard featuring as they do a number of singers not heard in these roles elsewhere. Ingrid Bjoner was a highly regarded house singer for years in Munich. Her voice was never one of sultry beauty and here her voice can verge on a wobble, but her high notes are thrilling and she knows what Brunnhilde is all about. In particular, the Siegfried Brunnhilde is very well sung. Gerhard Unger is mostly known as David to record collectors; here he sings both Mimes with great care and even beauty. Andy lists many of the other fine singers above and they all live up their reputations. Sawallisch shows again and again what a fine opera conductor he was. The pacing throughout these performances is superb.These were all taken from either house tapes or someone sitting in the auditorium and recording them. When a singer is upstage, his or her voice becomes recessed although not inaudible. There are a number of acoustic changes here (reflecting a variety of sources) and those used to the close-miking of broadcast performances may well find this disconcerting. The performances are worth the effort though!
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