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Die Walküre
The standout in this English-language performance of Die Walküre is undoubtedly Lorna Haywood, whose Sieglinde is sung with passion, abandon, and radiant top notes. Though her voice is somewhat lighter than is typical for the role, she inhabits the character fully, and her excellent diction only enhances her impact. Raimund Herincx brings a well-judged mix of authority and vulnerability to Wotan, with clear English delivery and a grounded vocal presence. Frederick de Marseille offers a lyrical and expressive Siegmund, highlighted by an exceptionally shaped "Winterstürme" and thrilling singing in the final pages of Act I. Margaret Kingsley, as Brünnhilde, possesses a promising instrument but struggles with the role's demands, particularly in the upper range, where her tone becomes blowsy and unsteady. Despite this, the performance benefits from very good stereo sound that captures the drama in vivid detail.
Track List
Act I
1. The storm drove me here
2. A stranger here? Where has he come from?
3. Cool and refreshing now I am well
4. Here he lay, feeble and faint
5. Friedmund no one could call me
6. I know a troublesome race
7. A sword was pledged by my father
8. Do you sleep?
9. My husband's kinsmen sat in this room
10. Winter storms have vanished at Spring's command
11. You are the Spring
12. Siegmund call me
2. A stranger here? Where has he come from?
3. Cool and refreshing now I am well
4. Here he lay, feeble and faint
5. Friedmund no one could call me
6. I know a troublesome race
7. A sword was pledged by my father
8. Do you sleep?
9. My husband's kinsmen sat in this room
10. Winter storms have vanished at Spring's command
11. You are the Spring
12. Siegmund call me
Act II
13. Go bridle your horse, warrior maid!
14. The usual storm, the usual strife!
15. Oh, why mourn over virtue and vows
16. What must I do?
17. Fricka has won the fight
18. When youth's delightful pleasures had waned
19. And for that ending works Alberich
20. So I obey his command
21. Rest here for a while; stay by my side!
22. Siegmund! Look at me!
23. So greet for me Walhall
24. Charms of sleep are sent to still
25. Why doesn't father return?
14. The usual storm, the usual strife!
15. Oh, why mourn over virtue and vows
16. What must I do?
17. Fricka has won the fight
18. When youth's delightful pleasures had waned
19. And for that ending works Alberich
20. So I obey his command
21. Rest here for a while; stay by my side!
22. Siegmund! Look at me!
23. So greet for me Walhall
24. Charms of sleep are sent to still
25. Why doesn't father return?
Act III
26. Hoyotoho! Hoyotoho!
27. Shield me and help in highest need!
28. Pray suffer no sorrow for me
29. Fly him swiftly, away to the east!
30. Where is Brünnhild?
31. Here am I, father
32. Was it so shameful
33. So you achieved what I longed so dearly to do
34. You fathered a glorious race
35. Farewell, my valiant, glorious child!
36. Loge, hear! Come at my call!
27. Shield me and help in highest need!
28. Pray suffer no sorrow for me
29. Fly him swiftly, away to the east!
30. Where is Brünnhild?
31. Here am I, father
32. Was it so shameful
33. So you achieved what I longed so dearly to do
34. You fathered a glorious race
35. Farewell, my valiant, glorious child!
36. Loge, hear! Come at my call!
Customer Reviews
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3.0
Based on 1 review
✓ Top Reviewer
United States
Less than meets the ear
With this installment, the limitations of the 1977 Seattle Opera "Ring" become more apparent. The main culprit is conductor Henry Holt, whose approach could be described as every man for himself and devil take the hindmost. Margaret Kingsley's pleasant but stopgap Brünnhilde is often covered by the orchestra, Holt not being a 'singers conductor.' Lorna Haywood is a maternal Sieglinde but her voice is beautiful, something that could not be said of her quaver-ridden Siegmund, largely inadequate and often risibly so. While Marvalee Cariaga does not have a distinctive instrument, she adeptly tallies Fricka's arguments and Noel Mangin makes his few utterances tell as Hunding. That leaves the lion's share of the laurels to the haunting and marvelously sung Wotan of Raimund Herincx, who is so good that the big cut in his Act II monologue is doubly regrettable. The Valkyries are a superb group and the sound is of demonstration caliber.
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