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Andre Rieu - The Flying Dutchman
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Levine's Rheingold Wagner - Das Rheingold / Levine, Morris, Jerusalem, Ludwig, Metropolitan Opera (Levine Ring Cycle Part 1) is better than this version in almost every way, despite the fact that it was live as opposed to this one which had every studio trick available at the time at its disposal (and many used). With Levine, the staging is better, the conducting is better, the sound quality is better...pretty much all around better. I specifically reference Levine's because it is the only other "traditional" Rheingold on DVD that I can find. I respect the Karajan Rheingold for its time, but it has quite simply been surpassed. If I could have reviewed this in 1973 I probably would have given it 4 stars, losing out really only for 2 reasons. 1: The conducting is not as interesting as I would like (lack of concept of tension and release) and little things like when Alberich is sneezing the muted instruments that are the orchestral version of onomatopoeia don't come through clearly, and 2: though this is nitpicky, when Fricka sings "Wotan, my husband, wake up!" we instantly see Wotan sitting upright, completely awake, when he should be in half sleep, making his way toward being fully awake so that when Fricka tells him to wake up a minute later it makes sense.Truly the only thing that this production offers that Levine's doesn't is a faster tempo (though as quick as it can be I cannot call it exciting). If you are among those upset by Levine's sluggish tempos (it has taken me years to learn to appreciate them, truth be told), then this version may be for you after all, but keep in mind the other 3 operas in this production were never made. If a faster pace is really what you're after I might recommend Boulez's version instead. Wagner - Das Rheingold / McIntyre, Zednik, Jerusalem, Salminen, Becht, Schwarz, Boulez, Bayreuth Opera (Boulez Ring Cycle Part 1) Though it is a non-traditional ring it makes perfect sense (at least through Siegfried...I haven't seen it's Gotterdammerung) and at many times feels traditional. And for a great audio-only fast-paced recording of the ring (better than Karajan's and Boulez's in this reviewer's opinion) check out Bohm's. Wagner: Der Ring des NibelungenOne more little thing about this (Karajan) production, we actually see Loge transform into flame at the end. A nice touch I have seen nowhere else.The sound quality is okay...not great. The subtitles are relatively easy to follow but are not as clear as I would like (somewhat slavish translation from German), no worse than the others I've seen.Also, for a great non-tradition Rheingold, check out Barenboim's. Wagner - Das Rheingold / Tomlinson, Clarke, Holle, Finnie, Johansson, von Kannen, Svenden, Barenboim, Bayreuth Opera.Levine's, Boulez's and Barenboim's full ring cycles are available as well.Wagner - Der Ring des Nibelungen / Levine, Metropolitan Opera (Complete Ring Cycle)Wagner - Der Ring des Nibelungen / Pierre Boulez, Bayreuth Opera (Complete Ring Cycle, Parts 1-4)Der Ring Des Nibelungen I am confused as to the genesis of this production, as presented here. It is implied Unitel filmed "Rheingold" but then, for whatever reasons, abandoned their Ring project, never filming the other three Ring operas. This is problematic. Karajan did not stage his ring cycle chronologically. One per season at Salzburg, up first was "Walkure", followed by "Rheingold", "Siegfried" and, finally, "Gotterdammerung". Therefore, if the theory that Unitel started to film Karajan's Ring Cycle, but decided to abandon it in mid cycle, they would already have filmed "Walkure" the preceding season. It would have made no sense to skip "Walkure" and start with "Rheingold", forever dooming themselves to, at best, a 3/4 Ring Cycle.I also recall that at about the same time DGG's famous audio recordings of Karajan's Ring were being released, there was, on a German label I can't remember the name of now, a release of what was said to be the soundtrack from the filmed stage versions of the operas, with casts that varied slightly from that of the DGG recordings. It is well known the DGG recordings were all made prior to the actual stage performances, hence the cast variations. I once saw the set complete at Tower Records in Hollywood, on vinyl, but at a completely unaffordable price. I clearly remember it saying it was the soundtrack from the Salzburg stage performances. It was not, in any way, a pirate recording.Therefore, it is my contention this DVD set is neither Karajan's original Salzburg performance, nor even the only remnant of his cycle that exists. That leads me to wonder what ever happened to that filmed production. One must remember that filmed opera in Europe was (and may still be, for all I know) popular and often shown in movie houses.At least for me, the mystery of Karajan's filmed Ring Cycle remains unsolved.Herbert von Karajan's studio film of his Salzburg Festival production was lambasted by critics and flopped at the box-office which resulted in Unitel cancelling the filming of the rest of the cycle, a project they were not enthusiastic about to begin with anyway, having to contend with spiralling costs and Karajan's ego, but the loss is truly all ours. Studio-bound though it is, this is nonetheless a great 'Rheingold', thrilling conducted and sung (even better than Karajan's 1968 audio recording in fact!) and a valuable record of the production itself. If it looks similar to the Met Opera production also available on DVD, this is because it was co-designed by the Gunther-Schneider Siemssen who directed the Met's production, but with Karajan's input this is the version to see rather than the stodgy, uninspired museum piece seen in New York. Thomas Stewart's Wotan and Peter Schreier's Loge dominate the work throughout. Indeed Schreier is barely recognisable, with his shaved head and red outfit, capturing Loge's wily mannerisms and cunning to perfection, it's a powerhouse performance. Stewart too is on excellent form as Wotan, even if Karajan (who also directed the film incidetally) too often cuts to reaction shots - the fact that Stewart can muster quite a variety of reactions in close-up to the various events depicted is truly a testament to his acting ability as well as his singing! In smaller roles, Brigitte Fassbender is an acceptable if unmemorable Fricka and Jeanine Altmeyer a stunning Freya, beautfiul to look at and singing with the right touch of terror and sympathy when confronted by the lumberig giants. Matha Modl appears (but does not sing) as Erda in the film's only weak spot; a crucial moment in the story which doesn't quite come off, added to the fact the ghostly appearence of Erda has clearly been superimposed over a still photo of Wotan and the rest of the Gods! Indeed the special effects themselves look more like something from a Doctor Who episode of the seventies, but are good enough and achieve their purpose without looking too clumsy. Overall, perhaps the best Rhinegold on DVD and certainly the closest to Wagner's conception of the work without coming across as too reactionary or insipid. Karajan's mastery of staging and conducting is seen here at it's best. No one could pretend that Wagner's 'Ring' is any thing easy to stage or film.In the early 1970's, the computer techniques were far less developed. Even so, the visual quality of this interesting work is unsatisfactory more from the point of view of traditional staging than the filming itself.The opening Act is fun enough. Three unamed actresses mimed out the three Rhinemaidens, flrting with Alberich.However, the fun dissipates when the gods come on stage. Thomas Stewart is a vocally capable Wotan, but entirely uncharismatic and fails to convince as the head of the gods. Jeannine Altmeyer and Peter Schreier are all but two of the characters that have some semblance of godliness in them.The most dramatic part of the story, the trapping of Alberich, is a failure. The easiest trick is to cast a net round the toad, then when the toad becomes a human being, the net enlarges to envelope the whole. In the old 1960's Kung Fu films that I used to watch, this trick was all but too readily and easily employed. As it is, one wonders why Alberich could not simply wriggle out of Loge's flimsy clutch.Then of course, the props were also disappointing. Gold never looked like gold, and the 'ring' is a clumsy facsimile of a blacksmith's (not goldsmith) leftovers.The roles however are well sung, with Peter Schreier stealing the show as Loge.Compared to other "Das Rheingold" DVD's I have seen, this one is a disappointment. Karajan may have been a superb conductor but his staging of the action was hammy, clumsy, and amateurish. Then you find out the the vocal track and the visual were recorded four years apart; the aggregate impression is that of a mediocre filming of a very routine performance. Of the singers, the best by far are the Loge of Peter Schreier and the Fricka of Birgitte Fassbaender. Thomas Stewart is stiff, the other gods are lackluster (possibly stifled by Karajan's penchant for total performance control), and the first scene in the Rhine is very stilted and lacks animation. Unless you really want to hear Schreier "play against type" as a sly yet tuneful Loge, avoid this. De Billy, Levine, and Boulez all lead better representations of this opera; de Billy's, for example, is a lot more fun to watch, and his Loge (Graham Clark) is even better than Schreier!
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