Die Walkure

What do you write in a review of this recording when you clearly have a sumptuously engineered, wonderfully played, and finely nuanced conducting with only competent singing? It's the typical modern dilemma for Wagnerian performance singing today. If I was to attend a performance like this live in a theater, I'm sure I would leave feeling generally satisfied. But the problem here is that I will be relistening to the recording over and over again. There's no Melchior singing Siegmund, no George London singing Wotan, and no Birgit Nilson singing Brunnhilde. While all the artists singing here are often much better than competent, we never are taken to the heights of vocal glory. I need glory in this repertory. There are too many excellent existing recordings which overwhelm this release in direct comparison. I did enjoy the boom and the tinkle of the sonics found here, but as a discriminating Wagnerian, I need much more than that.For my money, I recommend the Leinsdorf RCA/Decca 1960 Die Walkure as the best stereo studio release and the historical Met Ring dream cycle from 1936/37/40 Die Walkure led by Bodanzky and Leinsdorf on Guild Hall. If you are looking for tall peaks, there are many to be found in these various releases.

Sound the best I ever heard; singers good, Janowski who is sometimes a problem with Wagner (especially his Tristan) puts his brisk approach to good use here.

The latest installment in PentaTone's bicentennial Wagner cycle gives me some hope. Performing Die Walkure in Berlin is like performing Rhapsody in Blue in New York. Both works are iconic, but it's been a long time since they were really alive. We are far past the era of conductors like Furtwangler, born in the era of Brahms, or even the next generation, like Karajan, born before WW I, for whom Wagner was genuinely alive as part of a continuous tradition. At 74, Marek Janwoski still has some connection to that tradition, and although he's no genius, I found his Tristan and Rheingold satisfying, and of course he made a complete Ring cycle from East Germany that is held in some regard, even if it wasn't a serious rival to Solti and Karajan.This new concert reading of Die Walkure has the advantage of excellent, natural sound, and the engineers have discreetly placed the microphones so that less than heroic voices can sound right for their parts. One can't expect the excitement of a full operatic staging, but that's a quibble. Today, "modern" Wagner singing means reduced voices and fairly sleek conducting. By that standard, the singing cast on this occasion is quite good, and Janowski is in his element. If you have lingering memories of Lehmann and Melchior in Act I of Walkure, the likes of Robert Dean Smith, who is reliable and steady, with no great beauty of voice or heldentenor sonority, won't be a satisfying Siegmund, and his Sieglinde, Melanie Diener, though feminine, sincere, and vocally appealing, won't bring any thrills. These aren't great singers of legendary stature, but they convey their roles with serviceable professionalism. My biggest disappointment is that Smith didn't show more courage in pushing his voice at major climaxes, such as the thrilling ten minutes from Wintersturme to the end of Act I - there is little thrill here..For bigger voices one can turn to Gergiev's recent Walkure, also in concert, where glorious singing by Jonas Kaufmann and Rene Pape rises above anything on this set. But Janowski's proficient conducting spoke to me more than Gergiev's rather cumbersome attempts at profundity. For me, the best scenes here are those which feature the bold, passionate Wotan of Tomasz Konieczny, who has a focused, somewhat nasal baritone that might seem more suited to Alberich, Teleramund, and Klingsor. But he made a strong dramatic impression where Paper too often settles for producing beautiful tones. If we are speaking of deviations from the traditional model, the Brunnhilde of Petra Lang comes out of left field. She has been an established German mezzo for a while, and now, like Waltraud Meier, she has decided to adapt her voice to Wagner's dramatic soprano roles. Lang's musicality serves her well throughout, as it did for Meier. She's dramatically involved, but there's no escaping the fact that Lang has to husband her voice when it comes to the heroic passages (her Ho-jo-to-hos are pretty weak tea, even though she takes care to hit every note as securely as she can).I won't go into further detail, because nothing here is so below par as to earn disdain or so magnificent as to create lasting memories. What we have is a professional performance, not quite up to the level of Janowski's earlier account vocally, where the absence of a really credible Brunnhile and Siegmund demonstrates how standards have waned over the past thirty years.Tomasz Konieczny (Wotan), Iris Vermillion (Fricka), Robert Dean Smith (Siegmund), Melanie Diener (Sieglinde), Timo Riihonen (Hunding), Petra Lang (Brünnhilde), Anja Fidelia Ulrich (Gerhilde), Fionnuala McCarthy (Ortlinde), Heike Wessels (Waltraute), Kismara Pessatti (Schwertleite), Carola Höhn (Helmwige), Wilke te Brummelstroete (Siegrune), Nicole Piccolomini (Grimgerde) & Renate Spingler (Roßweiße)Rundfunk-Sinfonieorchester Berlin, Marek Janowski

I have been lukewarm in my appreciation of Maestro Janowski's Wagner recordings as his brisk style with the music often emerges as perfunctory to my ears, and too often misses the essence of the drama and the glories of the music. In his current epic series for Pentatone there have been casting issues which have further dampened my enthusiasm for his heroic efforts in performing all the standard works in just over a year, and his Dresden Tannhauser is the only recording I have unreservedly enjoyed. In his earlier Ring recording, I have always enjoyed the Rheingold but little else, especially NOT the Walkure and when we finally reached the Ring in the new cycle I was very disappointed in the Rheingold as explained in my review, and consequently had little expectations of the Walkure. I am delighted to report that it is very fine indeed, and I can appreciate why many will think it superb, though my own assessment falls a little short of that.It is beautifully recorded, with glowing strings, rich brass and thanks to Janowski's lighter textures a great deal of detail in the score is exposed that we do not normally hear. The playing of the orchestra is wonderful-the best we have heard in the series so far-and surpasses that of the Maryinsky in the recent Gergiev while not quite matching that of the incomparable VPO for Thielemann especially in sheer weight of tone, but I have nothing but praise for this excellent band on this occasion.Janowski is consistent in his approach with regard to tempo, but in this performance it results in a very exciting and dramatic performance indeed-those who admire Leinsdorf's approach to this work will warm to this reading. Some moments would benefit from a little more breathing space-Wotan's climatic scene especially-but overall it is a very effective reading. Act Two does not drag in Janowski's hands. There are more gripping Preludes to Act Three-Janowski does not ease back on tempo at the climax, and the brass are somewhat subdued compared to other recordings, but this is what is in the score so I'm not complaining (I did immediately play the Thielemann however-and cheered!).It is a very well sung performance indeed, though others will enjoy Konieczny's Wotan more than I do. I found his timbre to be too nasal for my liking in Rheingold, and his flat pronunciation disturbs me at times also. Here he is for much of the time more fulsome of tone and there is less of the nasal quality-but just as his excellent Alberich for Thielemann was an angry characterisation, so is his Wotan. His Wotan lacks the sense of the character having crossed a line in trying to do good and trying in vain to rectify the harm done, but is all anger and frustration. This is fine as a legitimate view of the role of course, particularly when it is so well sung, but it becomes a little monochrome at times.His voice is very much at the lighter end of the scale for a Bass, and the greater heft of Dohmen is more to my taste but others will be very happy with his performance, and I enjoy it on its own terms.Act One-Kaufmann's absence notwithstanding-is a triumph. I have nothing but praise for Robert Dean Smith's Siegmund, reminiscent in so many ways of James King at his best. His baritonal tenor is lighter than the smoky tone of Kaufmann but no less thrilling and effective. In the concert performance from which the recording was made, he alone sang without a score and he is absolutely assured in the role. His cries of "Wälse "are thrilling and secure, his Wintersturme is passionate and he ends the act in thrilling style. His Sieglinde in Melanie Diener is no less accomplished, and she manages the transformation from vulnerable victim to passionate woman admirably and sings with beautiful assured tone throughout.As is the modern trend, a younger lighter voiced Hunding is chosen in the casting of 30 year old Timo Riihonen who gives a firm voiced threatening characterisation-a Hagen in the making.The sword being drawn from the tree is a real "hair standing on end" moment, orchestrally and vocally.The Valkyries are excellent though the concert platform does not allow any spatial effects, and they are rather "in your face"- but they sing well which is what counts.Iris Vermilion reprises her imperious Fricka giving Wotan what for, and that only leaves the Brunnhilde of debutante Petra Lang on which to comment.She has had a long career in mezzo roles, where I first encountered her in the Davis LSO Troyens, and later had the pleasure of hearing her superb Brangaene in the ROH under Haitink.Now she follows the likes of Meier, Urmana and Dalayman in stepping up to full blown heroic soprano roles, of which there is none more so than Brunnhilde.Her voice is on the lighter side, very feminine rather than warrior princess, and she has steady tone throughout. There is just an air of fragility at times-is she going to run out of voice?-but she doesn't of course, and with this artist dramatic emphasis and understanding of the role can be taken for granted so there are no problems there. I like her performance very much, and she is much is nearer to Dalayman than to Stemme in her overall conception and delivery.If I'm honest, she's not the Brunnhilde of my dreams-a little pale compared to the very best-but it is a relief to hear the role sung free of intrusive vibrato, let alone downright wobbles.She does drift just a little off pitch in her opening salvos-just a little-but this is forgiven when the whole performance is assessed.So, a very fine set indeed, without question the best Digital Recording of the work to date that can be bought as a stand alone item. I much prefer it to the Gergiev which I overrated on its release in a burst of enthusiasm for Kaufmann in particular, though I prefer-just-the Thielemann Vienna recording, but that is primarily for the conductor and orchestra, as with the exception of Wotan and the Valkyries, the Janowski is much better sung.Of course, lurking in the background are Leinsdorf, Karajan, Furtwangler, Bohm etc., but they cannot compete on recording transparency and quality with this fine new set for all their merits.It is stunning in SACD.I awarded the Gergiev 5 stars-too many in reality-therefore I have to award this one 6! If I hadn't made it difficult for myself, it would have been four and a half!! I know just how Wotan feels!No-one is more surprised than I am! Fully recommended. Stewart Crowe

I have been lukewarm in my appreciation of Maestro Janowski's Wagner recordings as his brisk style with the music often emerges as perfunctory to my ears, and too often misses the essence of the drama and the glories of the music. In his current epic series for Pentatone there have been casting issues which have further dampened my enthusiasm for his heroic efforts in performing all the standard works in just over a year, and his Dresden Tannhauser is the only recording I have unreservedly enjoyed. In his earlier Ring recording, I have always enjoyed the Rheingold but little else, especially NOT the Walkure and when we finally reached the Ring in the new cycle I was very disappointed in the Rheingold as explained in my review, and consequently had little expectations of the Walkure. I am delighted to report that it is very fine indeed, and I can appreciate why many will think it superb, though my own assessment falls a little short of that.It is beautifully recorded, with glowing strings, rich brass and thanks to Janowski's lighter textures a great deal of detail in the score is exposed that we do not normally hear. The playing of the orchestra is wonderful-the best we have heard in the series so far-and surpasses that of the Maryinsky in the recent Gergiev while not quite matching that of the incomparable VPO for Thielemann especially in sheer weight of tone, but I have nothing but praise for this excellent band on this occasion.Janowski is consistent in his approach with regard to tempo, but in this performance it results in a very exciting and dramatic performance indeed-those who admire Leinsdorf's approach to this work will warm to this reading. Some moments would benefit from a little more breathing space-Wotan's climatic scene especially-but overall it is a very effective reading. Act Two does not drag in Janowski's hands. There are more gripping Preludes to Act Three-Janowski does not ease back on tempo at the climax, and the brass are somewhat subdued compared to other recordings, but this is what is in the score so I'm not complaining (I did immediately play the Thielemann however-and cheered!).It is a very well sung performance indeed, though others will enjoy Konieczny's Wotan more than I do. I found his timbre to be too nasal for my liking in Rheingold, and his flat pronunciation disturbs me at times also. Here he is for much of the time more fulsome of tone and there is less of the nasal quality-but just as his excellent Alberich for Thielemann was an angry characterisation, so is his Wotan. His Wotan lacks the sense of the character having crossed a line in trying to do good and trying in vain to rectify the harm done, but is all anger and frustration. This is fine as a legitimate view of the role of course, particularly when it is so well sung, but it becomes a little monochrome at times.His voice is very much at the lighter end of the scale for a Bass, and the greater heft of Dohmen is more to my taste but others will be very happy with his performance, and I enjoy it on its own terms.Act One-Kaufmann's absence notwithstanding-is a triumph. I have nothing but praise for Robert Dean Smith's Siegmund, reminiscent in so many ways of James King at his best. His baritonal tenor is lighter than the smoky tone of Kaufmann but no less thrilling and effective. In the concert performance from which the recording was made, he alone sang without a score and he is absolutely assured in the role. His cries of "Wälse "are thrilling and secure, his Wintersturme is passionate and he ends the act in thrilling style. His Sieglinde in Melanie Diener is no less accomplished, and she manages the transformation from vulnerable victim to passionate woman admirably and sings with beautiful assured tone throughout.As is the modern trend, a younger lighter voiced Hunding is chosen in the casting of 30 year old Timo Riihonen who gives a firm voiced threatening characterisation-a Hagen in the making.The sword being drawn from the tree is a real "hair standing on end" moment, orchestrally and vocally.The Valkyries are excellent though the concert platform does not allow any spatial effects, and they are rather "in your face"- but they sing well which is what counts.Iris Vermilion reprises her imperious Fricka giving Wotan what for, and that only leaves the Brunnhilde of debutante Petra Lang on which to comment.She has had a long career in mezzo roles, where I first encountered her in the Davis LSO Troyens, and later had the pleasure of hearing her superb Brangaene in the ROH under Haitink.Now she follows the likes of Meier, Urmana and Dalayman in stepping up to full blown heroic soprano roles, of which there is none more so than Brunnhilde.Her voice is on the lighter side, very feminine rather than warrior princess, and she has steady tone throughout. There is just an air of fragility at times-is she going to run out of voice?-but she doesn't of course, and with this artist dramatic emphasis and understanding of the role can be taken for granted so there are no problems there. I like her performance very much, and she is much is nearer to Dalayman than to Stemme in her overall conception and delivery.If I'm honest, she's not the Brunnhilde of my dreams-a little pale compared to the very best-but it is a relief to hear the role sung free of intrusive vibrato, let alone downright wobbles.She does drift just a little off pitch in her opening salvos-just a little-but this is forgiven when the whole performance is assessed.So, a very fine set indeed, without question the best Digital Recording of the work to date that can be bought as a stand alone item. I much prefer it to the Gergiev which I overrated on its release in a burst of enthusiasm for Kaufmann in particular, though I prefer-just-the Thielemann Vienna recording, but that is primarily for the conductor and orchestra, as with the exception of Wotan and the Valkyries, the Janowski is much better sung.Of course, lurking in the background are Leinsdorf, Karajan, Furtwangler, Bohm etc., but they cannot compete on recording transparency and quality with this fine new set for all their merits.It is stunning in SACD.I awarded the Gergiev 5 stars-too many in reality-therefore I have to award this one 6! If I hadn't made it difficult for myself, it would have been four and a half!! I know just how Wotan feels!No-one is more surprised than I am! Fully recommended. Stewart Crowe

Dès le début du premier acte,l'auditeur sait qu'il peut espérer une interprétation exceptionnelle,et l'audition complète (et répétée) de cette version confirme que nous tenions presque la référence contemporaine de la Walkyrie.Robert Dean Smith n'a pas la plus belle voix du monde (et son Walther,par exemple,est aujourd'hui difficile),mais son Siegmund est passionné et passionnant;Melanie Diener est l'une des meilleures Sieglinde entendues récemment;le premier acte est donc de toute beauté malgré un Hunding quelconque.Si précautionneux dans "l'Or du Rhin",Tomasz Konieczny est ici à son aise:les duos sont remarquables d'intelligence et d'autorité,et le chanteur est ici le jeune dieu conforme à l'esprit de l'oeuvre.Iris Vermillion donne la Fricka que l'on attendait d'elle:elle n'oublie pas le chant dans l'imprécation.Petra Lang avait déjà été remarquée au disque en Cassandre dans la seconde version des Troyens de Colin Davis;sa Brünnhilde a conquis cette année le public de l'Opéra de Paris;sa prestation est admirable de maîtrise et de sensibilité,et point besoin de chercher de flatteuses comparaisons pour saluer une grande chanteuse wagnérienne.Mais le triomphateur est ici le chef;le disque n'a que rarement rendu justice à Marek Janowski,et ceux qui ont assisté régulièrement à ses concerts le mettent à un niveau bien supérieur à celui occupé par des jet stars surévaluées.Ici l'art du chef est à son sommet:une construction implacable de l'oeuvre,aucun alanguissement ni temps mort;un engagement de tous les instants;un orchestre aux timbres somptueux,servi par une prise de son superlative.Les trois actes sont également réussis,ce qui est devenu bien rare...Une merveille,que les précédentes (et bonnes) réalisations Pentatone ne laissaient guère espérer.Enfin une version de la Walkyrie qui émeut et bouleverse,ce qui n'était pas arrivé depuis Haitink;grâces en soient rendues à Marek Janowski et à une distribution équilibrée et enthousiaste.Les Walkyries sont hélas bien à la peine et coûtent une étoile à cet enregistrement.

Mit schneidender Vehemenz greifen die tiefen Streicher des Rundfunksinfonieorchesters Berlin den Hörer an, mitten drin sitzt man im Sturm, wie man es live nie erleben wird, schon garnicht in Bayreuth, so viel Druck können Bässe und Celli im Orchestergraben nicht erzeugen. Mit technischer Hilfe haut einen der Anfang in den Sessel, der Pauker tut mit seinem Donnerschlag ein übriges. Marek Janowski, der große Wagner-Zuchtmeister, lässt auch hier die Zügel nicht schleifen, der emotionalen Attacke der Walküre kann aber selbst er sich nicht entziehen (wie immer er dies z.B. im Tristan geschafft hat). Immer noch hält Janowski das Blech an der kurzen Leine, arbeitet er sich an vielen Details ab, aber nun bekommt im 1. Akt, in der Todverkündigung und der letzten Szene des 3.Aktes der Orchesterklang Wärme und Fülle (wunderschöne Celli).Vielleicht interessiert Janowski einfach mehr die musikalische Gestaltung als das Drama, so bleibt doch immer eine gewisse Distanz, ein Quentchen Zurückhaltung - das müsste doch eigentlich eine "moderne Interpretation" sein. Den Kampf Siegmunds mit Hundings hat man sicher kaum klarer, deutlicher in allen Orchesterstimmen (Stierhorn) gehört - und bleibt doch beim ersten Hören seltsam unberührt. Hat man sich aber etwas in die oft ungewohnten Klänge eingehört, so wird man doch auch mit fort gerissen. Das sage ich nun als bekennender Thielemann-Fan und freue mich über die neue Variante. Nach dem Wagnerjahr wird es sicher wieder dürre Jahre geben...Wie in den bisherigen Teilen seines Wagner-Zyklusses hat Janowski ein Ensemble ohne Schwachpunkte versammelt, das natürlich gegen die Heroen und Heroinen der Vergangenheit ansingt, das aber mit Bravur: Robert Dean Smith hat halt nicht die absolute Belcanto-Stimme, legt sich aber mächtig ins Zeug und imponiert nicht nur mit ewig langen Wälse-Rufen, sondern auch mit vielen lyrischen Stellen. Melanie Diener reiht sich in die vielen vorzüglichen Sieglinden der letzten Jahre, natürlich war die Rysanek eine Urgewalt, aber doch auch nicht höhensicherer. Iris Vermillion ist sicher auch nicht die schönstimmigste Fricka, dafür aber eine der nachdrücklichsten, bringt Gatten Wotan vehement zur "Staatsräson". Toll auch die aus vielen Opernhäusern gecasteten Walküren, selten wurde da so wenig gekrischen - und der Walkürenritt ist natürlich ein Paradestück für einen Rhythmusfanatiker wie Janowski.Petra Lang als Brünnhilde - das hat mich erst überrascht,also wieder mal eine etwas tiefer gelegt Brünnhilde. Ob sie sich da was Gutes auf Dauer tut, kann ich nicht einschätzen, die Meier ließ ihre Finger von der Brünnhilde und singt heute noch zu unser aller Freude. So müssen halt die Spitzentöne geschmiedet werden, was Petra Lang auch imposant, wenn auch nicht immer schön, gelingt. Aber das sind ja nur wenige und ansonsten gelingt ihr eigentlich alles.Tomasz Koniecny ist für mich schließlich der Hammer, um mal ein wenig aus dem gediegenen Klassikjargon auszubrechen. Wir haben ihn jüngst in München noch als Alberich gehört, was für eine kraftvolle Naturstimme mit Bombenhöhe. Wer hat sich in den letzten Jahren so ungeniert in die Götternot geworfen, wer so das "Ende" herausgeschmettert, den 8 Walküren auch lautstärketechnisch Paroli geboren? Dabei hält er die Gesangslinie durch, versucht selbst im Monolog des 2.Aktes zu singen, wo es fast nichts zu singen gibt. Abgerundet durch einen leidenschaftlichen, nicht larmoyanten Abschied - toll. Klar wird es jetzt heißen, dass er halt noch nicht ausreichend differenziert, aber wo haben denn ein Ferdinand Franz oder Theo Adam "differenziert"?Die sog. historisch informierten Dirigenten meiden Wagner ja weiterhin oder beißen sich an ihm die Zähne aus (Hengelbrock), so gelingt zumindest Janwoski eine fast klassisch zu nennende Alternative zum gängigen romantischen Ansatz.

Après l'heureux début du nouveau Ring de Janowski, un Or du Rhin de très bonne facture, on ne peut que déchanter avec cette Walkyrie routinière et sans intérêt majeur.J'avais déjà relevé que Janowski dirigeait l'Or du Rhin sans souci de différenciation. Ce défaut devient ici très gênant, tant l'ensemble paraît privé de contrastes et de relief. Tout est abordé de la même façon, rapide et superficielle, sans éclairage particulier, avec, parfois des banalités et des lourdeurs (la célèbre chevauchée du III, qu'on a rarement joué aussi planplan)surprenantes, mal compensées par une attention excessive à certains détails (les phrasés de violoncelles dans la 1re scène du I, vite oubliés hélas par la suite; de nombreux effets de cuivres bouchés si exagérément sollicités que l'on croit par moments à un défaut de gravure!). Cette uniformisation des climats ne permet ni au chef, ni à ses solistes, de trouver le délicat équilibre entre humain et épique, intime et cosmique qui fait toute la difficulté et la spécificité de cette œuvre.Côté voix, réelle déception avec les jumeaux prudents de Smith et Diener, attentifs aux valeurs, aux nuances et au texte, mais très en-deçà (elle surtout dont on nous vantait pourtant la Sieglinde "historique") des déchirements de leurs personnages que l'opéra prend, doit-on le rappeler, aux ultimes instants, ceux où ils brûlent tout, de leurs brèves et tragiques existences. Ce chant musical, mais bien trop "bourgeois", est celui de la raison plus que de la transgression ou de la fêlure. Écoutez par exemple le "Haltet ein, Männer, mordet erst mich!" de Diener à la scène 5 du II, noyé dans le coton, symptomatique de cette regrettable tiédeur ...Déception aussi pour la Fricka d'Iris Vermillion, dont on attendait plus subtil que cette composition à 100 % axée sur l'indignation et ce timbre gonflé, matronesque, qui prive le personnage, essentiel, de toute intelligence et de toute séduction, sans d'ailleurs que l'on y gagne en impact (écouter Gorr, Klose ou Lipovsek, par exemple, dans une optique voisine, ou l'extraordinaire Veasey, à l'opposé), la faute incombant pour moitié au tempo insensé du chef, qui semble vouloir se débarrasser d'une scène pourtant capitale, ce qui n'a échappé à aucun de ses collègues. Mieux vaut passer sur l'incomprehensible choix d'un chanteur aussi dépourvu de caractère et de diction que Timo Riihonen pour Hunding.Reste la Brünnhilde classique de Petra Lang, assez asymptotique sur les aigus (je ne sais pas si elle différencie un la d'un la dièse, moi si), qui truque beaucoup, malgré des moyens potentiellement importants, à l'instar des mezzos imprudemment distribués dans ce rôle essentiellement central, certes, mais de vrai soprano néanmoins. Le personnage demeure schématique, assez semblable à ceux composés actuellement par Linda Watson ou Katarina Dalayman, pareillement opulentes mais sans substance profonde. l'émotion, absente au II (une annonce de la Mort sans relief), s'installe néanmoins au III, sa scène avec Thomas Konieczny semblant la stimuler. Il est vrai que ce Wotan constitue le meilleur élément de la distribution, malgré une conception insuffisamment murie (le long monologue du II, mal soutenu par le chef, traîne), malgré un accent et des sons tubés et gutturaux exagérément slaves, malgré également quelques aigus difficiles. L'autorité naturelle du chanteur compense aisément ces défauts, et il excelle tout aussi bien dans la fureur que dans l'émotion finale, d'un beau rayonnement, malgré , là encore un orchestre assez insensible.Les Walkyries sont médiocres, la prise de son possède moins de relief que celle de l'Or du Rhin et le spectre dynamique est réduit.Rien de mémorable donc. Attendons le prochain Siegfried ...Pour cet opéra, mieux vaut en rester à Böhm (Philips), Karajan (DG), Haitink (EMI) ou le trop méconnu mais superbe Leinsdorf (Decca), pour en rester aux versions stéréo.

I bought.I heard it.I hated it.I returned it.