Wagner: Das Rheingold - Adam, Reynolds, Esser, Bode, Ridderbusch, Zednik; Stein. Bayreuth, 1973
Wagner: Das Rheingold - Adam, Reynolds, Esser, Bode, Ridderbusch, Zednik; Stein. Bayreuth, 1973
Wagner: Das Rheingold - Adam, Reynolds, Esser, Bode, Ridderbusch, Zednik; Stein. Bayreuth, 1973
Wagner: Das Rheingold - Adam, Reynolds, Esser, Bode, Ridderbusch, Zednik; Stein. Bayreuth, 1973

Wagner

Das Rheingold

Adam, Reynolds, Esser, Bode, Ridderbusch, Zednik; Stein
Bayreuth, 1973

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Das Rheingold

Richard Wagner

1973 marked the third year that this particular Ring was in circulation at Bayreuth. Although revivals often get a bad rap, at Bayreuth, where the casts are often consistent from year to year, the director will continue to work with the singers, restaging parts of the opera and exploring new dynamics between the characters. The result is a dynamic experience in which the singers and audience benefit from the rapport that the artists have established year after year without slipping into stale routine. Not that this cast of excellent singing actors would ever let that happen. Theo Adam is magnificent as Wotan and carries most of the show with ease. Karl Ridderbusch is also a stand-out as Fasolt as is Marga Höffgen as an earthy-voiced Erda.

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David McKee

Gustav Neidlinger is the dominating force of this performance. At age 63 he still commands the resinous vocal texture and interpretive comprehensiveness he displayed on the Solti studio recording many years earlier.By comparison, Theo Adam is a plebian Wotan and Hermin Esser a charmless Loge. Karl Ridderbusch is a classy Fasolt, good in itself even if it throws the blandness of Hartmut Bauer's Fafner into even starker relief. The supporting cast is a mixed bag, from Gerd Nienstedt and Heribert Steinbach as a sturdy Donner and Froh to Hannelore Bode's positively dreadful Freia. (Why would the gods want her back?) Anna Reynolds' blandishing Fricka exudes wifely solicitude. Marga Hoeffgen's Erda personifies authority.Horst Stein leads a refreshingly brisk reading, although this comes with some sacrifice of atmosphere, as when Alberich transforms himself into a giant snake. The orchestral playing is better than it was given credit at the time.
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