Half
a year ago the first instalment, Die Walkure, in the
first SACD Ring cycle was issued and reviewers around the world
lavished praise on it. What impressed me most of all was the
superb sound with its wide dynamic range and its absolute clarity
that allowed the listener to hear all the strands of the orchestral
fabric. Surround sound added a feeling of actually being there
in Adelaide Festival Theatre. Recorded during the same period,
this Rheingold has the same sonic characteristics. Having
been taped during actual performances some stage noises are
unavoidable but by and large they are not very disturbing and
the presence of an audience is only audible in the shape of
some applause at the end.
Another
feature of the Adelaide Die Walkure was the superb playing
of the city's Symphony Orchestra and the eminently sure-footed
conducting of Asher Fisch, the hero of the recording. That is
even more true of Das Rheingold. This is felt from the
barely audible beginning of the prelude, which grows in a
relentless crescendo up to the rise of the curtain. I m presume
there was a curtain in Adelaide; I have only seen a couple of
stills in the booklet and these indicate that it was a very
modernistic production. Fisch's firm grip of the proceedings
continues throughout this 2 hour-long 'introduction' to the Ring
in a decidedly dramatic reading. The orchestral interludes are
his true province and he revels in the stormy music (CD1 tr. 6)
that takes us from the bottom of the Rhine to - at least in Wagner's
original concept - the mountain top where Wotan and Fricka are still
asleep. This is indeed a masterly transition and would make
perfect film music, accompanying a continuous camera-tracking.
The wild descent to Nibelheim (CD1 tr. 21) is another orchestral
tour de force, but most of all Fisch impresses through the constantly
responsive and considerate support to the singers; reminding
us that a purely orchestral Ring des Nibelungen would
still be a riveting experience. Asher Fisch has to be counted
among the front-runners of recorded Ring conductors. On the
merits of the playing and conducting this Rheingold definitely
has a place in the top layer.
When
it comes to the singing I am afraid I have to put forward some
reservations. About Die Walkure I wrote - which is also
quoted in the booklet for this set - "not a weak link among
the soloists". Unfortunately there are several here. John Brocheler's
Wotan is a well-known quantity. He took the part also in Haenchen's
Amsterdam Ring, released on DVD earlier this year (see review)
and he sings here with sturdy authority and occasionally with
heartrending warmth and lyricism, but he is also at times severely
strained and can be a bit unsteady. On the whole, however, this
is a fine reading, somewhat in the Tomlinson mould (Barenboim).
The other survivor from the Walkure, Elizabeth Campbell's
Fricka, is deeply involved. She spits out her sarcasms with
venom against Wotan, but her tone is too often wobbly and acidulous.
This latter attribute also applies to her sister Freia, Kate
Ladner, who characterises well the anguish when facing the prospect
of being taken hostage by the giants. On the other hand this
lovely creature should radiate more warmth. Liane Keegan as
Erda, has this and expresses the nobility of the Wala in her
all too brief appearance, rounding off her warning to Wotan
with an impressive meide den Ring! (yield up the ring!).
Timothy DuFore is a vehement Donner, singing powerfully but
he is prone to press too much, which also mars Andrew Brunsdon's
Froh. His is, as far as I can judge, a fairly lyrical voice.
I wish he could have retained those qualities in his solo Zur
Burg fuhrt die Brucke (CD2 tr. 19), one of the most magical
moments in the whole cycle. Christopher Doig is an expressive
Loge but even he has his squally points.
Vocally
it is the evil powers who are the winners in this performance.
John Wegner's Alberich is an especially impressive
impersonation. He is an experienced Wagnerian, well-known also
to Bayreuth visitors. His is a blackish heroic voice, very
expressive. He makes Alberich a dangerous nobleman with nothing
of the grotesque parodic elements often encountered in the part.
After being captured and forced to hand over the gold he sings
with such sorrow and pain that he invokes the listeners' compassion. Even
his curse is spat out with a certain dignity (CD2 tr. 11). I
am really looking forward to hearing him in Siegfried and
Gotterdammerung. Richard Greager is a splendid Mime - a
dream role for a character tenor - and this is another impersonation
that whets the appetite for Siegfried where he will get
even wider exposure. Andrew Collis and David Hibbard are imposing
giants and the Rhinemaidens are neither better nor worse than
most of their sisters on other recordings.
The
presentation is in the luxury class with a 150 page hardback
book including all the information one could wish. While not
quite reaching the heights of Die Walkure this is still
an impressive achievement and it is worth Wagnerians' attention,
especially for Fisch's reading of the score, the superb playing
of the orchestra and also for some better than average singing.
Goran Forsling