Gioachino Rossini said of Richard Wagner's music, "Monsieur Wagner has good moments, but awful quarters of an hour!"
I agree that there are some moments that seem to linger forever as Wagner experiments with yet another way to expand a phrase. But for me, the "good moments" aren't just good; they are some of the most satisfying music to experience, especially when performed by artists gifted with a voice suitable for Wagner.
Das Rheingold
The beginning
This is how the 14-hour odyssey begins: E-flat major arpeggios start off slow, gradually getting faster to create a ripple effect that evokes the River Rhine. The first voices we hear at the beginning of the opera are the three rhinemadiens, mermaidlike creatures.
Have you ever heard Mendelssohn's Fair Melusina Overture? There are similarities to the opening of the later-composed Rheingold, right? I'm not accusing anyone of pilfering, but it's ironic how similar they are given how much Wagner hated Mendelssohn.
Weia! Waga! Woge du Welle
These rheinmaidens know how to make an entrance! This takes shower singing to a whole new level.
Entrance of the Gods into Valhalla
Die Walkure
End of Act I
Sieglinde is a role that fits Jessye Norman like a glove. She owns this role. I love the scream (it's not written in the score) that she lets out as Siegfried pulls the sword from the tree. (Is it just me, or did he not have to try very hard?)
Jessye Norman, soprano
Gary Lakes, tenor
Wintersturme through the end of Act I
Insert several OK emojis here! This recording is a gem. Conductor Erich Leinsdorf deeply understands the momentum of the opera, especially in this final scene. Just listen to the strings in the last minute. Not surprisingly, both singers, particularly Vickers, really deliver.
Jon Vickers, tenor
Gre Brouwenstijn, soprano
Brunnhilde's Battle Cry, Hojotoho!
Kristen Flagstad was the first person really to own one of opera's most demanding roles, Brunnhilde. And you can hear why. She has an enormous voice that effortlessly penetrates the gigantic Wagner orchestra.
Kristen Flagstad, soprano
Brunnhilde's Battle Cry, Hojotoho!
I am going to get verklempt talking about Birgit Nilsson. No one has delivered the role of Brunnhilde as she did. Nilsson singing Brunnhilde is what happens when passion, talent and genetics align (much like Michael Phelps and swimming). Her voice is pure steel and never forced. In this performance, she and Leinsdorf produce the greatest recording of Brunnhilde's Battle Cry.
George London, bass-baritone
Birgit Nilsson, soprano
So ist es den au smit den ewigen Gottern
A few years ago, a friend offered me tickets to see Die Walkure at the Met. Of course, I said yes. When I got there, I realized he had given me box seats. Box seats to Die Walkure at the Met! I will never forget Stephanie Blythe's entrance in Act II and how she just let's Wotan have it.
Stephanie Blythe, mezzo
O hehrstes Wunder!
Yes, a human just did that. The sound that comes from Jessye Norman when she takes the broken sword from Hildegard Behrens is one for the books. It's massive, effortless and fills the entire house. No orchestra covers up Jessye Norman — no way, no how!
Ride of the Valkyries
"The machine" was a pretty controversial element of the Met's new Ring Cycle. It doesn't seem to get in the way of the ladies. Hojotoho!
Wotan's Farewell
Donald McIntyre, bass-baritone
Gwyneth Jones, soprano
Wotan's Farewell
Alexander Kipnis, bass
Siegfried
Forging Song
Ben Heppner is a true heldentenor (a rare breed). When he was at his best, he brought something really special to Siegfried. Listen to the strength and steeliness of his voice.
Ben Heppner, tenor
Forest Murmurs
Manfred Jung, tenor
Gotterdammerung
Conclusion of the Immolation Scene
Georg Solti's Ring Cycle with the Vienna Philharmonic and an all-star cast is considered one of the greatest — if not the best — recording of this epic work. It should be no surprise that Birgit Nilsson was part of the cast as Brunhillde. In the final moments of a documentary about the making of Solti's Ring Cycle, Nilsson is wrapping up the Immolation Scene and the incredible finale, where all the leitmotifs overlap and come together. This is how you end an opera.
Birgit Nilsson, soprano
Immolation Scene
The last one was pretty great, right? Still, Nilsson's best recording of the Immolation Scene is from Bayreuth with Karl Bohm, whose tempi better evoke the drama of this moment. This scene exploits Nilsson's vocal and musical gifts.
Birgit Nilsson, soprano
The Ring Without Words
You don't have to sit through four operas to hear the best of the Ring Cycle. Conductor Lorin Maazel compiled the best music from each opera, sans voice, into one work that he called The Ring Without Words.
Love the music?
Show your support by making a gift to YourClassical.
Each day, we’re here for you with thoughtful streams that set the tone for your day – not to mention the stories and programs that inspire you to new discovery and help you explore the music you love.
YourClassical is available for free, because we are listener-supported public media. Take a moment to make your gift today.