Richard WAGNER (1813-1883)
Götterdämmerung - Act III
Birgit Nilsson – Brünnhilde; Wolfgang Windgassen – Siegfried; Gottlob Frick – Hagen; Marie Collier – Gutrune; Thomas Stewart – Gunther; Barbara Hall – Woglinde; Gwyneth Jones – Wellgunde; Maureen Guy – Floßhilde
Royal Opera Chorus; Orchestra of the Royal Opera House/Georg Solti
rec. live, 6 September 1963, Royal Albert Hall, London
Text and translations not included
TESTAMENT SBT1506 [75:05]
This release from Testament brings us a bit of Wagner performance
history. This concert performance of Act III of Götterdämmerung was
given at the Proms as part of an all-Wagner concert during the 150th
anniversary year of the composer’s birth. As Tony Locantro relates in
his notes it was in effect a dress rehearsal for the new Royal Opera production
of the music drama which opened on 11 September as the latest instalment of
a Covent Garden ‘Ring’ cycle, directed by Hans Hotter. Interestingly,
this was the first time that Solti had conducted any of Götterdämmerung
in public. The following year most of these soloists took part in the Decca
recording of Götterdämmerung in Vienna. The cast changes were as
follows: Claire Watson sang Gutrune on the recording, Dietrich Fischer-Dieskau
was Gunther, and Lucia Popp replaced Barbara Hall as Woglinde. The fact that
changes were made for the recording shouldn’t be taken to mean that
the Covent Garden cast was inferior; on this showing there wasn’t a
weak link.
For a start, there’s a fine trio of Rhinemaidens. At the start of the
Act Barbara Hall, Gwyneth Jones and the late Maureen Guy all sing extremely
well, both individually and as a trio, as they first tease Siegfried and then
issue him with a dire warning of what may befall him if he retains the Ring.
Later, Marie Collier and Thomas Stewart impress as Gutrune and Gunther respectively.
Collier, in particular, conveys very convincingly her anguish when she learns
of the death of Siegfried.
Wolfgang Windgassen really makes his vocal presence felt as Siegfried. His
narration of his past dealings with Mime and how he found Brünnhilde is very
involving. And as he comes to this Act of the opera fresh, rather than at
the end of a full performance, there’s no hint of tiredness in the voice.
The hero’s final solo, as he dies, thinking of Brünnhilde, is very affecting.
There’s nothing heroic about the scheming Hagen and Gottlob Frick’s
big black-toned voice is ideally suited to this role. Even when, superficially,
he softens his tone there’s an air of menace.
But dominating the proceedings is the Brünnhilde of Birgit Nilsson. Her very
first phrase (“Schweigt eures Jammers jauchzenden Schwall”) is
imperious and sets the tone for a commanding performance. Like Windgassen,
I’m sure that because she hadn’t had to sing through the earlier
acts she’s able to give even more on this occasion.. The Immolation
scene itself is launched majestically (“Starke Scheite schichtet mir
dort”). A little later, however, as she recalls Siegfried (“Wie
Sonne lauter strahlt mir sein Licht”) she controls her voice impressively
in order to invest the music with tenderness. In Brünnhilde’s last moments
(from “Fliegt heim, ihr Raben!”) Nilsson’s singing is absolutely
gripping. During the whole of the Immolation scene she commands the stage
absolutely; this is regal singing and compelling characterisation.
I said that Nilsson dominates the proceedings. Actually, that’s not
quite true: she doesn’t dominate alone because Solti is just as powerful
a presence. I know that some expert Wagnerians find his way with Wagner’s
music overwrought and too driven. All I can say is that I find him completely
convincing here. Yes, his conducting is often very tense but so is the music.
It seems to me that his direction is sure-footed and compelling with a fine
sense of drama and pacing. The orchestra
isn’t flawless but it plays very well for him. The Funeral Music is
dark and intensely dramatic at the start, presaging a very powerful rendition.
As for the end of the opera, the orchestral sound at the moment of Immolation
and in its immediate aftermath is apocalyptic while in the closing pages Solti
achieves genuine grandeur. I would not have known, had I not been told, that
he had never conducted this music in public before.
At the end there is a huge ovation from the Proms audience. That’s completely
understandable in view of what they’ve just heard. It’s just a
pity that they can’t let the last chord decay for even a second before
voicing their approval. It seems that even in 1963 the Promenaders were not
known for their restraint.
This is a BBC recording – I presume the original tapes have been used.
It’s come up jolly well when you consider the recording is now over
fifty years old. The orchestra sounds a bit undernourished at times –
but not seriously so. I suspect all the singers were positioned at the front
of the stage – that’s how it sounds – and without exception
their voices register clearly and with presence. Paul Baily has re-mastered
the recording and has done so skilfully. No one need hold back from acquiring
this disc on sonic grounds.
There’s a very good background note by Tony Locantro which usefully
links together the Covent Garden ring cycle, the Decca recording and this
present performance. Sadly, no libretto is provided. A PDF is available from
the Testament website, however, and I suspect that many people who invest
in this set will already have access to the text and a translation.
As I said at the outset, this disc contains a bit of Wagner performance history.
It’s also a fine performance in its own right.
John
Quinn
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