Wagner

Götterdämmerung

Jones, Cox, Ridderbusch, Mazura, Neidlinger; Stein
Bayreuth, 1975

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Götterdämmerung

My first time experiencing Wagner in the theater was about twenty years ago at the Metropolitan Opera. The opera was Götterdämmerung and featured Gwyneth Jones as Brünnhilde. I will never forget the sensation of hearing her voice open up at "Zu neuen Taten." As the evening progressed it seemed as if there was no end to her vocal reserves and needless to say I became an instant Wagnerian. This recording taken about twenty years earlier finds her in even greater voice and she fearlessly (and almost recklessly) plows through the almost-impossible vocal writing of Act II as if no one told her that singing Wagner can be bad for your voice. Jean Cox is a sturdy Siegfried and displays that he even had a respectable high-C. Karl Ridderbusch is a formidable Hagen and brings a touch of elegance to the part that you rarely hear. Franz Mazura and Anna Reynolds make equally worthy contributions as Gunther and Waltraute respectively. Although the sound is for the most part very good there are about a dozen moments where the recording will jump about a second. This happens mostly during the first half hour or so of the opera. That said, if you can brace yourself for a few bumps in the road I think you will really enjoy this stunning performance.

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David R.✓ Top Reviewer

United States

Overall rating

Excellent Conclusion to a Fine Cycle!

Everyone is in top form for this final evening of the 1975 Bayreuth Festival Ring directed by Wolfgang Wagner. Musically it is very strong under Horst Stein's firm, well-paced direction. I've described this entire cycle as well-paced and this Götterdämmerung is no exception. Gwyneth Jones brings her three Brünnhildes to a stirring conclusion with this performance. She is in excellent voice throughout, displaying her effortless top notes, but also a real trill when Wagner calls for it. Only occasionally are there hints that her vibrato might get beyond her control, something she had to struggle with as her career progressed. Ridderbusch sings an uncommonly eloquent Hagen and Neidlinger ends his Bayreuth career by making Alberich's ten minutes as effective as they always were. Most of the cast had been heard in previous cycles and are just as convincing here. Again, no one wobbles, everyone can handle their assignments. The basic sound is very good, but the jumping ahead ten seconds or more is annoying. Fortunately, it doesn't occur often; it is most obvious in the first half hour or so. All Ring enthusiasts should hear this performance.
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