Track Listing

Disc 1:

1. Rheingold
2. Rheingold
3. Rheingold
4. Rheingold
5. Rheingold
6. Rheingold
7. Rheingold
8. Rheingold
9. Rheingold
10. Rheingold
11. Rheingold
12. Rheingold
13. Rheingold
14. Rheingold
15. Rheingold

Disc 2:

1. Rheingold
2. Rheingold
3. Rheingold
4. Rheingold
5. Rheingold
6. Rheingold
7. Rheingold
8. Rheingold
9. Rheingold
10. Rheingold
11. Rheingold
12. Rheingold
13. Rheingold
14. Rheingold
15. Rheingold

Disc 3:

1. Rheingold
2. Die Walküre
3. Die Walküre
4. Die Walküre
5. Die Walküre
6. Die Walküre
7. Die Walküre
8. Die Walküre
9. Die Walküre
10. Die Walküre
11. Die Walküre
12. Die Walküre

Disc 4:

1. Die Walküre
2. Die Walküre
3. Die Walküre
4. Die Walküre
5. Die Walküre
6. Die Walküre
7. Die Walküre
8. Die Walküre
9. Die Walküre
10. Die Walküre
11. Die Walküre
12. Die Walküre

Disc 5:

1. Die Walküre
2. Die Walküre
3. Die Walküre
4. Die Walküre
5. Die Walküre

Disc 6:

1. Die Walküre
2. Die Walküre
3. Die Walküre
4. Die Walküre
5. Die Walküre
6. Die Walküre
7. Die Walküre
8. Die Walküre
9. Die Walküre
10. Die Walküre
11. Die Walküre
12. Die Walküre
13. Die Walküre
14. Die Walküre

Disc 7:

1. Die Walküre
2. Siegried
3. Siegried
4. Siegried
5. Siegried
6. Siegried
7. Siegried
8. Siegried
9. Siegried
10. Siegried
11. Siegried
12. Siegried
13. Siegried
14. Siegried
15. Siegried

Disc 8:

1. Siegried
2. Siegried
3. Siegried
4. Siegried
5. Siegried
6. Siegried
7. Siegried
8. Siegried
9. Siegried
10. Siegried
11. Siegried
12. Siegried
13. Siegried

Disc 9:

1. Siegried
2. Siegried
3. Siegried
4. Siegried
5. Siegried
6. Siegried
7. Siegried
8. Siegried
9. Siegried
10. Siegried
11. Siegried
12. Siegried

Disc 10:

1. Siegried
2. Siegried
3. Siegried
4. Siegried
5. Siegried
6. Siegried
7. Siegried
8. Siegried
9. Siegried
10. Siegried
11. Siegried

Disc 11:

1. Siegried
2. Gotterdämmerung
3. Gotterdämmerung
4. Gotterdämmerung
5. Gotterdämmerung
6. Gotterdämmerung
7. Gotterdämmerung
8. Gotterdämmerung
9. Gotterdämmerung
10. Gotterdämmerung
11. Gotterdämmerung
12. Gotterdämmerung
13. Gotterdämmerung

Disc 12:

1. Gotterdämmerung
2. Gotterdämmerung
3. Gotterdämmerung
4. Gotterdämmerung
5. Gotterdämmerung
6. Gotterdämmerung
7. Gotterdämmerung
8. Gotterdämmerung
9. Gotterdämmerung

Disc 13:

1. Gotterdämmerung
2. Gotterdämmerung
3. Gotterdämmerung
4. Gotterdämmerung
5. Gotterdämmerung
6. Gotterdämmerung
7. Gotterdämmerung
8. Gotterdämmerung
9. Gotterdämmerung
10. Gotterdämmerung
11. Gotterdämmerung
12. Gotterdämmerung
13. Gotterdämmerung
14. Gotterdämmerung

Disc 14:

1. Gotterdämmerung
2. Gotterdämmerung
3. Gotterdämmerung
4. Gotterdämmerung
5. Gotterdämmerung
6. Gotterdämmerung
7. Gotterdämmerung
8. Gotterdämmerung
9. Gotterdämmerung
10. Gotterdämmerung
11. Gotterdämmerung
12. Gotterdämmerung
13. Gotterdämmerung
14. Gotterdämmerung
15. Gotterdämmerung
16. Gotterdämmerung
17. Gotterdämmerung
18. Gotterdämmerung

Product Details

• Amazon Sales Rank: #26595 in Music
• Released on: 1997-10-06
• Number of discs: 14
• Format: Box set
• Dimensions: 2.36 pounds
• Running time: 876 minutes

Amazon.co.uk Review
Modern storage media (CD/DVD) offer both high fidelity and great reliability in the playback of music. Yet only a bit more than a generation ago, the possibilities inherent in the long-playing record inspired John Culshaw, a young producer for Decca, to attempt the most ambitious recording project ever contemplated up to that time--a complete studio recording of the Ring. Though other Rings were issued after this landmark enterprise, none have equalled the Decca Ring in popularity. There are those who prefer live performances, or who feel that the sound and theatrical effects in this recording are overdone; nonetheless this remains the benchmark Ring, as shown by its seemingly endless re-release schedule. The Ring effort was high profile at the time and helped nail down Sir Georg Solti's status as a "superstar" conductor and authoritative interpreter of the Wagnerian repertory. Another key contributor to the success of the project was the uniform excellence in the casting. Definitive performances given include Neidlinger's nietzschean Alberich, Stolze's whining Mime, Boehme's rumbling Fafnir, along with Nilsson in her prime-more a force of nature than a human voice. The care lavished on the capture of the music was unmatched at the time of the recording, and still leaves this as one of the best sounding Rings even today, when the oldest part (Rheingold) has reached its fortieth anniversary. --Christian C. Rix

Customer Reviews

The Greatest Achievement in Gramophone History??
Of the 15 or so complete Rings + numerous recordings of the separate operas that sit on my shelves, this was the first I acquired, originally bought as the sets were issued. So is it just because these were the performances from which I learnt my Ring that this is the version I still return to most often? Krauss is probably the best available performance, but the sound is fragile and friable. Windgassen and Nilsson are both more exciting in the live environment of Bohm's recording, but I'd like to shoot that prompter. Goodall is full, for me, of memories in the theatre and provides the best large-scale symphonic view, but his orchestra is good rather than great. Boulez is, as always, refreshing and elucidating, but let down by the quality of his singers.

So I keep coming back to Solti. Not perfect by any means, but still the best combination of sound, performance, interpretation and production you'll find. The casting is top-notch and often inspired - from Flagstad's first glorious Fricka in Rheingold to Fischer-Dieskau's flawed and vulnerable Gunther (he once famously described Gotterdammerung as 'a family tragedy'). Rhinemaidens, Valkyries and Norns include many a future Brunnhilde and the like - the Waldvogel is no less than Joan Sutherland!

Solti's conducting, much hailed at the time of release, has come in for increasing criticism over the years. Yes, he can be a bit hard-driven: yes, he can be too episodic: yes, he can pile pilion on ossa at some of the climaxes (though not as much as in the theatre). But he undoubtedly has a vision of the whole work which he sticks to. And he does draw the most glorious sounds and playing from the Vienna Philharmonic.

And then there's the contribution of John Culshaw and his team. The sound, even after all these years, is still about the best you can get in these works - clean and analytical but also full-bodied with masses of depth and perspective. More than a match for later studio recordings like Levine and Haitink. And the production and effects still work, too - from Rheingold's anvils to that famous distant rumble of thunder on Brunnhilde's rock that had Solti looking out of the control room window - not to mention the collapse of the Gibichung Hall; a real cartridge-tester, that, in the days of vinyl).

Put it all together and this remains the best all-round recommendation for a first Ring. 'The greatest achievement of gramophone history' it was called at the release of Gotterdammerung. Probably it still is. But I wouldn't want to be without quite a few of those other 14 versions on the shelf - it can get addictive, this Ring business.

A landmark work of art
This DECCA recording is still the standard by which all other Ring's should be compared. The first time I heard it 10 years ago it made the hairs on my neck stand on end. Solti and Culshaw created a truly dramatic interpretation, and its power is undiminished after countless listenings. Among the countless highlights for me are the preludes, such as the prelude to Act III of Siegfried; you can hear Wotan's desperation as he rides. The use of steerhorns in Gotterdammerung conveys perfectly the sense of impending doom for the wedding party. The performances are outstanding, especially Wolfgang Windgassen as Siegfried, who was a last minute stand-in after the preferred tenor showed no interest in singing! The background to this recording is as remarkable as the performances themselves. Stolze was extremely ill during Seigfried; there was an orhcestra revolt; Wotan's Farewell and Magic Fire Music was recorded by completely drunken orchestra players; Birgit Nilsson refused to do Gotterdammerung at first; etc, etc. These are some of the reasons why I love this recording. Out of adversity comes great art. That is not to say this Ring is not flawed. Technically, it is superb considering its age, but I find Solti's tempo is hurried in parts where it should not be hurried, whereas other conductors such as the Met's Levine draw out the power of some motives by controlling their tempo (e.g. the Curse motive). Solti's main success is Gotterdammerung, from start to finish that music drama has not been bettered by anyone. So turn off the phone, draw the curtains, press play and get ready to be involved in a great story told with great music by great players.

The ultimate Ring cycle
I first heard this Ring cycle about ten years ago, and I was captivated. There has never been, and I can't imagine that there ever will be, a Ring to equal it. This is Wagner as surely he was meant to be heard. All the performers are magnificent, and Solti's conducting was his very best, which is saying a great deal. Culshaw really knew what he was doing here! If you even -just- like opera, you must hear this. If you think you don't like opera, this will convert you. If you like Wagner, why don't you already own these CDs? It is -the- most stunning musical experience of a lifetime.