Wagner: Der Ring des Nibelungen
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Music CD Cover Composer: Richard Wagner Conductor: Karl Böhm Orchestra: Bayreuther Festspiele Orchester Performer: Anja Silja Performer: Annelies Burmeister Performer: Birgit Nilsson Performer: Danica Mastilovic Performer: Dorothea Siebert Performer: Elisabeth Schartel Performer: Erika Koth Performer: Erwin Wohlfahrt Performer: Gerd Nienstedt Performer: Gertraud Hopf Performer: Gustav Neidlinger Performer: Helga Dernesch Performer: Hermin Esser Performer: James King Performer: Josef Greindl Performer: Kurt Böhme Performer: Leonie Rysanek Edition: Music CD Format: Box set CD Release Date: 2006-09-12 Music Label: Decca Soundtracks: Music CD 1
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Free Music Notes for Wagner: Der Ring des Nibelungen Album
Free Music Review: "Schau, Mime, du Schmied! So schneidet Siegfried's Schwert!"
Hit: 5 Stars
Okay, so we have the Furtwangler, Krauss, Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, Sawallisch, and Barenboim Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:
TIMING (Estimate):
Furtwangler's Ring: 15 hours, 0 minutes
Krauss's Ring: 14 hours, 10 minutes
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
Barenboim's Ring: 14 hours, 50 minutes
YEAR(S) OF RECORDING
Furtwangler: 1953
Krauss: 1953
Solti: 1958-1965
Bohm: 1967
Karajan: 1966-1970
Goodall: 1973
Boulez: 1980
Janowski: 1980-1983
Levine: 1987-1989
Haitink: 1988-1991
Sawallisch: 1991
Barenboim: 1991-1992
CONDUCTING:
Furtwangler: The 1953 RAI Ring should be a must-have (even if you have another Ring on your shelf). Yes, it's true that Furtwangler favors slow tempi, but he makes even the slowest of his tempi intense and spine-tingling. Just listen to how he handles "Hagen's Night Watch" and "Descent/Ascent into/from Nibelheim". Now you can't call that atrocious, can you? I should remind you: there are two different box sets for this RAI Ring, one from EMI and one from Gebhardt. Best take the Gebhardt version because it has much better sound than EMI.
Krauss: This is the first Bayreuth recording of the Ring, and it sure is one hell of an interpretation. Unlike Furtwangler, maestro Krauss goes for quicker tempi and greater suspense. Compare his "Siegfried vs. Fafner" and "Waltraute's Narrative" to later recordings and you'll see that he is a musical champion. There are about four different box sets that are out there right now, but you will only need one: the Opera D'oro release.
Solti: Everyone knows that this is the first studio recording of the Ring. And everyone knows that Solti has become a famous name that's attributed to this. Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His "Donner's Song" & Gotterdammerung Preludes are clear examples: they're annoyingly loud and bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe Rheingold Prelude). I especially like his "Flight of the Valkyries" & "Forging Scene"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as "Brunnhilde's Awakening") are controlled nicely. His "Entrance to Valhalla" and "Funeral March" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Immolation". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works better if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Boulez's). Rheingold Scene Four can be best described as "sensational".
Levine: This conductor has his own fair share of lyricism, too. Only, his lyricism is softer and much slower than Karajan's. Sometimes you'll be annoyed at his plodding tempi in parts such as "Wotan confronts Siegfried" or "Loge confronts Alberich", but you'll be amazed by the stunning splendor of "Annunciation of Death" and "Forest Murmurs". Be on the sharp lookout, also, for Levine's perfect "Erda's Warning".
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
Barenboim: It's hard to describe Barenboim's Ring. I believe that he uses a little bit of everything: bombast, lyricism, intensity, beauty, fast tempi, slow tempi, measured phrasings, yada yada yada. And he uses all of them so well, that this Ring ranks with Furtwangler, Krauss, Bohm, and Janowski as one of the greats.
ORCHESTRA:
Furtwangler's RAI Rome: I think that much of the criticism that's been given to RAI are simply insensitive. Yes, it doesn't rank with other, more experienced orchestras, but what you get is the final result of what the great Furtwangler wanted. Woodwinds in "Wotan's Farewell" are marvelous, the brass in "Wotan Summons Erda" simply stunning. Maybe if people listened to the Gebhardt release instead of the EMI, then they would appreciate the orchestral playing a bit more.
Krauss's Bayreuth Festival: Due to limited rehearsal time, the orchestra sounds robotic a few times. However, that's only a minor flaw: there's everything that you need for a 14-hour Wagner opera. From the thunderous brass to the smooth woodwinds, from the loud percussion to the saintly strings, it's [almost] everything that you need for a Bayreuth performance. "Magic Fire Music" in mono sounds even better than Barenboim's "Fire Music" in stereo.
Solti's Vienna Philharmonic: The woodwinds aren't really the most beautiful in Solti's Ring, but they are still a plus. French horns and Wagner tubas make this a recommended listening. The strings could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are some of the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Scenes involving Erda and Three Norns aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tension. Overall, this orchestra is the most energetic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung Act Two Scene One sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. "Forging Scene" doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest; Act Three Prelude is the dullest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: Boulez turns this orchestra into an almost chamber orchestra (like Karajan's). While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Rhinemaidens' motifs) fares better than Berlin's, but is crushed when compared to English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness.
Janowski's Staatskapelle Dresden: This orchestra has only half the force & flair of Solti's Vienna, but Dresden sounds much clearer due to the fantastic digital sound. All the minor details that are found nowhere else are heard in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Karajan's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound a bit too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, because it sounds just as poignant. While the woodwinds are not as good, the strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
Barenboim's Bayreuth Festival: Do I really have to tell you that Bayreuth in the really 90's still went strong after all these years? Do I really have to tell you that the brass and percussion are kept under control, and that the strings and woodwinds outstrip Berlin and Bavarian Radio? Do I really have to tell you that almost everything is as it should be? . . . Fine.
SINGERS:
-Wotan
Furtwangler: Ferdinand Frantz has something that other Wotans can't touch. Maybe it's that when he sings "Abendlich strahlt der Sonne Auge" he makes people swoon (back in the day, of course). Maybe it's that when he sings "In eig'ner Fessel fing ich mich" he scares the hell out of people. I think it's that when he sings "Auf wolkigen Hoh'n wohnen die Gotter" amazement spreads like . . . I can't think of a perfect simile at the moment. So anyway, Frantz is a great Wotan.
Krauss and Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Solti's Rheingold, in which a less stellar George London performs). It's true that he gives an utterly heartbreaking performance during "Der Augen Leuchtendes Paar", and it's true that he was well past his prime when he did Solti's Ring (but don't let that stop you from listening to his classic "Dir unweisen ruf' ich's in's Ohr"). Makes me wish I heard Keilberth and Knappertsbusch's Ring recordings sooner.
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording ("Der Augen Leuchtendes Paar" is wobbly), but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in Rheingold, while Thomas Stewart replaces Fischer-Dieskau in Walkure and Siegfried. I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both Walkure and Siegfried.
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen. I enjoyed his singing during Siegfried Act One.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau and McIntyre pretty much throughout both Rings. His multi-dimensional performances are compelling in Walkure. "Nicht send ich dich mehr aus Walhall" should not be missed.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his "Leb Wohl, du Kuhnes herrlisches Kind" wasn't enough to astound me.
Barenboim: The rough, deep voice of John Tomlinson should keep people up during the night. You can tell right away after his entrance in Rheingold that he will be flawless later on in Walkure and Siegfried. No, he is not Hotter. And no, he is not horrible.
-Brunnhilde
Furtwangler: The only thing that Martha Modl's voice lacks is sensitivity. She's rough, she's sensuous, she's lyrical, and that's pretty much it. There seems to be no innocence or intelligence in the voice. But I could be wrong, since my ears are different than everyone else's.
Krauss: Astrid Varnay matches Martha Modl, only that she is the one that has innocence in her voice. She gets five out of five stars from me.
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her "Soll fesselnder Schlaf fest mich binden" is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Siegfried and Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin. While she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
Barenboim: It sure feels like a cycle when Anne Evans sings as Wotan's favorite daughter. In Walkure, she sounds like a young girl, but as the story progresses, so does she. Her voice and personality changes dramatically during the Gotterdammerung Prologue and especially during the final days of the Gods. Absolutely striking.
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have Wolfgang Windgassen for Furtwangler, Ramon Vinay for Krauss, James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, Robert Schunk for Sawallisch, and for Poul Elming for Barenboim. For the Sieglindes, we have Hilde Konetzi for Furtwangler, Regina Resnik for Krauss, Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, Julia Varady for Sawallisch, and Nadine Secunde for Barenboim. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Goldberg doesn't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Furtwangler: I'll just describe the singing of Ludwig Suthaus in three words: Oh So Good!
Krauss and Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in the latter renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming. Be careful, though: during Krauss's "Forging Scene" he makes tons of mistakes, but they'll get used to later on.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. I like him better when he's performing as Mime in later Ring productions. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink and Barenboim: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm in both renditions. Bravo!
-Alberich
Furtwangler and Krauss and Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?"). Reminder: In Furtwangler, Neidlinger is replaced by Alois Pernerstorfer in Siegfried and Gotterdammerung.
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
Barenboim: Gunther von Kannen doesn't completely eclipse Neidlinger and Wlaschiha, but he joins in with Nimsgern and Hammond-Stroud for his humane performance. "Bin ich nun frei?" was good, but not great.
-Mime
Furtwangler and Krauss: What do Julius Patzak (F) and Paul Kuen (K) have in common? Why, they both sing their parts without any caricaturing in the way. They both sound luminous and painless in every way possible. Kuen is slightly below Patzak's level, but that's okay. They're both excellent Mimes.
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners. But of course, Stolze's truly unsettling caricaturing of Alberich's brother will catch on after repeated listening.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is just above average, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
Barenboim: Graham Clark is also like Schreier and Zednik. he's very VERY good. Again, nuff said.
-Loge
Furtwangler and Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegmund/Siegfried AND Loge? The demi-god needs to sound different from a Walsung, or a son of a Walsung. All in all, a Loge that's marred by lack of cunning.
Krauss: When listening to Erich Witte's Loge, I kept thinking to myself, "why doesn't he sound like Windgassen, and not a Norse clown?" I don't know, maybe Loge (or Loki) isn't supposed to sound like a clown, but maybe he is. I guess it's all up to the conductor's casting choices.
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Karajan: Gerhard Stolze is easily one of the most entertaining Loges to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief! Scene Two is when he's at his finest.
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on imagination and deviousness, Stolze only vengeance and deviousness, Windgassen and Witte only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
Barenboim: Graham Clark? Well, he's no Gerhard Stolze, but he does stay in tune with most of the music in Rheingold. "Immer ist Undank Loge's Lohn" will certainly be somewhere in the top.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Christa Ludwig is the most brilliant Fricka (Bohm and Levine). Levine contains the most memorable Gutrune of Cheryl Studer, while the most brilliant Valkries are found in Krauss, Bohm, Boulez, and Haitink. Goodall, Boulez, Janowski, and Sawallisch contain the best Freias, Frohs, and Donners. The Norns and Rheinmaidens do a splendid job in Furtwangler, Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Boulez, and Barenboim. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Neuhold's Badische presentation, Haenchen's Netherlands version, and two more mono recordings (Keilberth and Knappertsbusch), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the intense Furtwangler, the undeniable Krauss, the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, the serious Sawallisch, and the futuristic Barenboim Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.