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Richard WAGNER (1813–1883) Götterdämmerung (1876)
Wolfgang Windgassen
(tenor) - Siegfried
Hermann Uhde (baritone) - Gunther
Josef Greindl (bass) - Hagen
Gustav Neidlinger (bass) - Alberich
Astrid Varnay (soprano) - Brünnhilde
Gré Brouwenstijn (soprano) - Gutrune
Maria von Ilosvay (mezzo) - Waltraute
Maria von Ilosvay (mezzo) - 1. Norn
Georgine von Milinkovic (contralto) - 2. Norn
Mina Bolotine (mezzo) - 3. Norn
Jutta Vulpius (soprano) - Woglinde
Elisabeth Schärtel (mezzo) - Wellgunde
Maria Graf (contralto) - Flosshilde
Chor und Orchester der Bayreuther Festspiele/Joseph Keilberth
rec. live, Bayreuth Festspielhaus, Germany, 28 July 1955. ADD TESTAMENT SBT4
1393 [4 CDs: 57:58 + 56:12 + 65:28 + 77:14]
Selected comparisons Götterdämmerung
Böhm/Bayreuth FO, live 1967 (Philips)
Knappertsbusch/Bayreuth FO , live 1951 (Testament)
Barenboim/Bayreuth FO, live 1992 (Teldec)
Immolation scene
Flagstad/Furtwängler/PO, live 1950 (Testament)
Traubel/Toscanini/NBCSO, live 1940 (Guild Historical)
Final scenes
Goodall/Sadler’s Wells, studio 1972 (Chandos – single CD)
Have Testament trumped their own ace? Hans Knappertsbusch’s live
1951 Bayreuth Götterdämmerung was finally released by
Testament to great acclaim in 1999 and quickly established itself
as
a benchmark for Wagner’s apocalyptic opera. This 1955 Bayreuth
performance conducted by Joseph Keilberth also unfairly gathered
dust in the Decca archives for half a century before being
released to favourable reviews, many claiming it is now the Götterdämmerung to
own.
With so many components making a Wagner opera recording it’s
a question of swings and roundabouts.
In her 2000 autobiography 55 years in 5 acts: my life in opera,
Swedish/American soprano Astrid Varnay expressed disappointment
that her Brünnhilde was not commercially available.
By the time this Testament Ring was released Varnay was the
only
major cast member left to enjoy the positive response so
it is both appropriate and moving that the booklet’s cover
photograph is of Varnay with the Vassals. The final photograph
is of Varnay in her dressing room before her make-up mirrors.
What of Varnay’s singing? Dramatically this is a firecracker performance
illuminating Brünnhilde’s
narrative though textual clarity and colour. The opening
duet, for example, gains excitement and momentum as Varnay
brightens her tone, the final rapturous “Heils” thrillingly
nailed and extended. However Varnay’s line is undermined
as she swells into more notes than you could wave a spear
at. Unfortunately her basic tone suffers from fruitiness
although her dark lower register is particularly effective
in Act II as Brünnhilde crosses
from incomprehension and deep pain at Siegfried’s betrayal
to bitter fury. For technical security, radiance and dramatic
insight Rita Hunter remains my benchmark.
Where the 1955 casting scores over 1951 is Wolfgang Windgassen's Siegfried.
Windgassen's tone is bright and sunny at the start yet very
much the faltering heldentenor in the death scene. Bernd
Aldenhoff for Knappertsbusch is fettered with a gritty tone
which almost ruins the otherwise splendid opening duet. Yet
Aldenhoff does settle in Act III and his death scene is similarly
moving.
Gré Brouwenstijn's tremulous yet expressive Sieglinde is resurrected
in this Grutrune. Her quick vibrato arguably suits a character
which might be conceived as having a flaky edge. Hermann
Uhde encompasses both Gunther's external command and inner
weakness. Josef Greindl’s pitch black implacable Hagen is
truly terrifying yet Ludwig Weber in 1951 reveals more layers
of characterisation. For example Weber instructs the Vassals
to slaughter sheep for Fricka with brutal comradely comedy
whilst Greindl sings the lines straight.
Wagner's grandsons recruited Keilberth along with Cluytens,
Kempe, Böhm and Krauss in a post-war trend towards less monumental
conducting. Keilberth is certainly swift, conducting Götterdämmerung 24
minutes faster than Knappertsbusch in 1951 so the whole of
Act III fits onto a single CD. However Keilberth does not
lean too forward in the manner of Böhm; instead Keilberth's
conducting is characterised by natural lyricism which suffuses Götterdämmerung with
surprising warmth. The opening duet is notably exciting for
being music of the air, almost Mendelssohnian, with upper
strings and woodwind colours imparting surging energy within
supple rubato.
It's the dark end of the spectrum, the descent into tragedy, that
somehow fully eludes Keilberth. The Prologue misses the impending
doom that you hear in spades under Knappertsbusch, although
Keilberth expertly develops the cumulation points. The Act
II brass interjections amid the summons of the Vassals are
certainly fearsome and Keilberth thrusts home the tension
to the close. Yet Knappertsbusch just has the edge with slower
tempi imparting a malignant sense of evil.
The start of the 1955 Funeral March is impressive with woodwind floating
above basses and low brass. Keilberth thrillingly builds
tension but the resulting accumulation is somewhat disappointing
as the timps lack thunder although the trumpet soars clearly
enough.
Keilberth ends Götterdämmerung splendidly but that’s not
enough. Crucially the world does not sound as though it is collapsing
as leitmotif piles upon leitmotif in Keilberth's Immolation
scene. Valhalla's demise, the overflowing of the Rhine and,
my favourite, the orchestral grand command as Brunnhilde
summons Loge to destroy Walhalla do not match Knappertsbusch's
dramatic and tonal weight. Keilberth crucially misses the
fury and escalating violence of Toscanini (live 1940, Guild
Historical) and Furtwängler's overwhelming dramatic tension
(live 1950, Testament). One can hear why Keilberth in his
day was considered a fine conductor but overshadowed by such
contemporaries.
The stereo sound is a balm after listening to pirate Bayreuth
broadcasts from the 1950s where the Bayreuth orchestra is
too recessed.
Here the singers and orchestral voices are generally well
balanced although there is compression and unobtrusive shifts
in perspective. The prompt is blessedly unobtrusive, unlike
the 1951 Immolation Scene where she can clearly be heard
reading Varnay’s lines.
The Bayreuth Festival Orchestra is not in the same league
as Levine’s
Metropolitan Orchestra (DG) or their modern successors under
Barenboim (Teldec). The upper brass can sound somewhat strident
with the trumpets being a tad forward. The strings can catch
your ear though, their sensitive and lyrical phrasing the
best example of Keilberth’s style.
Testament's booklet contains essays, biographies, production photos
and the libretto in German and English. The booklet notes
add little to those in the earlier issues in the cycle. It
would have been better to know more about the performers
in relation to Götterdämmerung, details of the editing
and anecdotes relating to this particular production.
The booklet says this Götterdämmerung was recorded
on 28 July 1955 but I wonder whether the patching is taken
from dress
rehearsals or other performances? If so, why weren’t various
noises and glitches edited out? For example listeners will
clearly hear a lady talking in the wings stage-left 25 seconds
into CD1 track 8. However audience noises and stage sounds
are generally unobtrusive and, to my mind, add theatricality
and atmosphere.
Testament will in future issue Keilberth’s 1955 Ring in the
format they should have chosen from the outset: as a unified
set presumably with one comprehensive booklet. Unfortunately
their site states that 1955 cycle will still be spread over
14 CDs so it appears Siegfried will remain musically
disfigured by unnecessary breaks. They could easily fit each Siegfried Act
onto a single CD. Why, why have they done this?
So purchase Keilberth’s Götterdämmerung with confidence
but faced with a choice then stick with Knappertsbuch 1951.
This
can be supplemented by the final scenes under Goodall (1972
studio Chandos mid-price single CD) and Immolation scenes
conducted by Furtwängler (1950 live, Testament) and Toscanini
(1940 live, Guild Historical). Modl’s 3rd Norn,
Weber in Hagen’s watch, Knappertbusch’s thrilling mastery
as the Götterdämmerung tragedy unfolds and evolves
with devastating power and majesty, the deepening orchestral
rubato as Varnay turns to face the inferno really are the
stuff of legend.
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