Wagner: Der Ring des Nibelungen - Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth. Bayreuth, 1952
Wagner: Der Ring des Nibelungen - Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth. Bayreuth, 1952
Wagner: Der Ring des Nibelungen - Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth. Bayreuth, 1952
Wagner: Der Ring des Nibelungen - Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth. Bayreuth, 1952
Wagner: Der Ring des Nibelungen - Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth. Bayreuth, 1952
Wagner: Der Ring des Nibelungen - Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth. Bayreuth, 1952
Wagner: Der Ring des Nibelungen - Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth. Bayreuth, 1952
Wagner: Der Ring des Nibelungen - Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth. Bayreuth, 1952
Wagner: Der Ring des Nibelungen - Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth. Bayreuth, 1952
Wagner: Der Ring des Nibelungen - Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth. Bayreuth, 1952

Wagner

Der Ring des Nibelungen

Varnay, Hotter, Lorenz, Aldenhoff, Borkh, Mödl, Windgassen; Keilberth
Bayreuth, 1952

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Der Ring des Nibelungen

Richard Wagner

Richard Wagner (1813–1883)

In this, the second year of post-war Bayreuth, Joseph Keilberth faced the challenge of following Herbert von Karajan’s triumphant Ring of the previous summer. Keilberth proves fully equal to the task, offering a reading of remarkable insight and sensitivity, often drawing attention to the exquisite delicacy of Wagner’s orchestral palette. Astrid Varnay returns as Brünnhilde with a portrayal that balances youthful abandon with a vocal and dramatic sophistication beyond her years. (At only 34, she had already been singing Wagnerian roles for over a decade.) Hans Hotter brings ease and depth to both the Walküre and Siegfried Wotans, while Hermann Uhde takes the role in Das Rheingold. Uhde’s voice offers greater robustness and elegance, while Hotter’s interpretation is distinguished by its psychological nuance.

Other notable contributions include Bernd Aldenhoff’s virile and expressive Siegfried, Inge Borkh’s luxuriant Sieglinde, and a chillingly effective Hagen from Josef Greindl. The cast is further enriched by the presence of Martha Mödl as Gutrune and Wolfgang Windgassen as Froh—both exemplary in roles rarely given such vocal distinction.

Das Rheingold
Wotan – Hermann Uhde
Alberich – Gustav Neidlinger
Fricka – Ira Malaniuk
Loge – Erich Witte
Froh – Wolfgang Windgassen

Die Walküre
Wotan – Hans Hotter
Brünnhilde – Astrid Varnay
Siegmund – Günther Treptow
Sieglinde – Inge Borkh
Hunding – Josef Greindl
Fricka – Ira Malaniuk

Siegfried
Siegfried – Bernd Aldenhoff
Wanderer – Hans Hotter
Brünnhilde – Astrid Varnay
Alberich – Gustav Neidlinger
Mime – Paul Kuen

Götterdämmerung
Brünnhilde – Astrid Varnay
Siegfried – Max Lorenz
Hagen – Josef Greindl
Gunther – Hermann Uhde
Gutrune – Martha Mödl

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5.0 Based on 3 reviews
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David R.✓ Top Reviewer

United States

Overall rating

A Fine, Underrated Cycle From a Fine, Underrated Conductor!

As Andy writes above, Keilberth had a tricky challenge when he led two Ring cycles in Bayreuth 1952. The cycles of the previous year had had Karajan and Knappertsbusch at the helm and both were already considered legendary. Keilberth did not drop the ball however, telling the story of the Ring fluidly and pacing all four operas with imagination.Wieland Wagner began his experimentation with casting that season. Wotan was now divided between Uhde and Hotter, with Uhde playing the younger, more arrogant Rheingold Wotan and Hotter playing the more mature, world-weary Wotan in Walküre and Siegfried. Siegfried was now split between the younger Aldenhoff (Siegfried) and the more mature Lorenz (Götterdämmerung). Varnay remained as the Brünnhilde throughout (Wieland knew a good thing when he had it).Some the other casting decisions seem a bit arbitrary and may have been dictated by singer schedules and availability to rehearse/perform. Fricka was split between Malaniuk and Siewert and Fafner between Greindl and Böhme. Greindl sang the first of many Bayreuth Hagens. Inge Borkh made her only Bayreuth appearances as Freia and Sieglinde.All four operas were preserved in excellent broadcast sound. Opera Depot's copy is on pitch throughout and is more than listenable. If you love the Ring, you need this cycle too!
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Vito✓ Verified Buyer

United States

Overall rating

Great performance in surprisingly good sound!

I just received the CDs for this Ring last week, and I am very happy with it. This 1952 Keilberth Ring was available on 12 CDs on Archipel some time ago, and I already own that recording. This Opera Depot remastering seems to be of better sonic quality than the earlier Archipel version. There is a spatial presence that seems to be lacking on the older Archipel CD release, the vocals here are beautifully balanced with the topnotch Bayreuth orchestra. The only minor drawback is that the 1952 master tapes are in monaural sound; otherwise this recording would stand up nicely compared to the Keilberth 1955 stereo Ring. The cast is superb, I love Astrid Varnay's Brunnhilde, and the rest of the cast holds their own. Bernd Aldenhoff is a strong Siegfried, and a well rested Max Lorenz gives a great performance as Siegfried in Götterdammerung. Don't hesitate, buy this Ring!
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James B.

United Kingdom

Overall rating

Thrilling Wagner from post war Bayreuth

Wow, I absolutely loved this and listened to the entire cycle in three days. Keilberth’s pacy conducting is not within shading and the epic majesty of Siegfried’s Funeral March and the final conflagration are fantastic, in remarkably good sound for a broadcast over 70 years old. The cast is splendid with Hermann Uhde’s youthful Rheingold Wotan giving way to Hans Hotter’s authority in Die Walküre and Siegfried, Astrid Varnay in prime voice, with little scooping, as Brünnhilde, Bernd Aldenhoff’s clear voiced young Siegfried giving way to the moving if late authority of Max Lorenz in Götterdämmerung, Josef Greindl magnificently baleful as Hunding and Hagen, Ludwig Weber gloriously lyrical as Fasolt, Gunther Treptow an impassioned if sometimes strained Siegmund and Inge Borkh rapturously beautiful as Sieglinde. Is the Walküre Fricka sung by Ruth Siewert not Ira Malaniuk as listed? It sounds like her Götterdämmerung Waltraute and the Bayreuth online archives would seem to corroborate that impression. The MP3s are an absolutely bargain (I’m learning to embrace streaming) and I am sure I will revisit this recording many times in the future.
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