32:
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arranged for eighteen anvils to be hired and hammered, and Parry and Brown successfully captured the sound. There and elsewhere in the score the volume and clarity of sound were unprecedented on disc; the hi-fi aspects of the recording added to its appeal to the LP-buying public, as
Culshaw recognised.
792:
usually played in the opera house, and commissioned a set of specially made steerhorns to produce the requisite "primitive, uncouth sound". Another, more controversial, attempt to represent Wagner's intentions was near the end of Act I, where the tenor
Siegfried impersonates the baritone Gunther: the
1284:
Culshaw wrote, "Sometimes you get fobbed off with a sort of electronic compromise; sometimes you get a tinkling sound made by a few people beating metal bars together: but you never get the firm, frightening sound of eighteen anvils hit with rhythmical precision and building into a deafening assault
780:(Hagen) had to be in the cast or there was no point in starting", and they were duly cast. The only major role in the piece for which no singer was the obvious choice was Gunther, "an important but weak character", who Culshaw considered needed a strong singer to prevent him from being overshadowed.
419:
With the help of his engineering colleagues Gordon Parry and James Brown, Culshaw took exceptional pains to meet Wagner's musical requirements. Where the score calls for eighteen anvils to be hammered during two brief orchestral interludes – an instruction never followed in opera houses – Culshaw
333:
Culshaw believed that recording live performances was a second-best approach: he strongly advocated studio recordings in which the absence of the action and staging seen in the theatre would be redressed by imaginative production, "creating something like a 'theatre of the mind' which enabled the
754:
commented, "Solti's array of singers could hardly be bettered. Windgassen is at the very peak of his form, lyrical as well as heroic. Hotter has never been more impressive on records, his Wotan at last captured adequately. Stolze, Neidlinger and Böhme are all exemplary and, predictably, Joan
1171:
for issue on CD. Decca made four digital transfers, the first in 1984, two years after CDs became generally available; later transfers, taking advantage of technological developments, were made in 1997, 2012 and 2022. Reviewing a 2015 reissue, Paul
Robinson, writing in the journal of the
416:, the first and shortest of the four. Culshaw engaged Solti, the Vienna Philharmonic and a roster of established Wagner singers. The cast included Flagstad in one of her last recorded performances, in the role of Fricka, which she had never sung on stage.
354:
he wrote that few opera house productions were able to "rekindle the flame of the composer's plan", but in this recording "the most difficult to stage music drama, perhaps, in the entire repertory becomes a complete experience with no staging at all".
223:. Culshaw and his engineering colleagues set out to capture on disc performances that would recreate in listeners' minds the drama that Wagner intended, compensating for the lack of visual images with imaginative production, making use of
368:
as Brünnhilde, but she had retired from the operatic stage in the early 1950s, and when
Culshaw invited her to record the opera in 1957 she declined to attempt a complete recording. The result was a set of Act I conducted by
1132:
complained of "Hotter's foggy Wotan" as well as
Crespin's "blowsy Sieglinde", although Robertson, acknowledging Hotter's "uncomfortable patches", felt that no other singer could "invest the part with such authority".)
1294:
In the early days of stereo, separate mono and stereo recordings were made on different recording systems. In this case, under
Culshaw's overall direction, Parry controlled the mono recording, and Smith and Brown the
652:, but in Culshaw's view the performer's voice was showing "distinct signs of wear and tear" after more than ten years of singing Wagner's exceptionally demanding tenor roles. Culshaw found a younger singer,
1188:
was voted "the greatest recording of all time", and the phrase has been echoed by writers in the US and
Australia. The complete cycle and its component parts have won numerous honours, including
1275:: "Cannot we dispense altogether with the stage and the visible actor, such external coherence as the music needs being afforded by impersonal voices floating through a darkened auditorium?"
1304:
This is Solti's recollection of the exchange. Culshaw recalled similar sentiments from Legge, but slightly differently phrased: "Very nice, very interesting. But of course you won't
1862:
573:
described the recording quality as "stupendous" and called the set "wonderful … surpass anything done before" − and the recording sold in exceptional numbers. It entered the
1325:
had complained about "Solti's orgasms in every second bar" as a Wagner conductor. Solti was invited to conduct at
Bayreuth, but not until long after Wieland Wagner's death.
1826:
1234:
In addition to live theatre recordings, some studio recordings made by broadcasting companies were later issued on disc, including a complete cycle conducted by
599:
as Brünnhilde was essential. Decca secured an exclusive contract with her, but she made it plain that her first priority was that Decca should record her in
1908:
748:
described the set as "the finest recording, as such, of opera that we have had so far, and one that embodies a magnificent performance of the great work".
2225:
2142:
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1842:
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engineers subjected
Windgassen's recorded voice to technological intervention to make it temporarily sound more like that of Fischer-Dieskau.
656:, for the role, but despite a fine voice Kozub failed to master the part and Culshaw turned to Windgassen, who stepped in at the last moment.
322:, 1952), but in general it was thought that the only financially viable course was to tape live performances. Decca taped the 1951 and 1955
306:, but it was believed throughout the industry that studio recordings of Wagner operas would be uneconomic. There were studio recordings of
1173:
567:? A beautiful work, but you won't sell fifty copies". His prediction was wrong: the LP set won enthusiastic praise from reviewers −
2477:
1859:
959:
operas to be recorded for Decca's cycle, Nilsson and Hotter were cast as before. Windgassen did not wish to record
Siegmund, and
648:, the leading Wotan/Wanderer, but casting the title role caused difficulty. The best-known singer of Siegfried at the time was
619:
in the tetralogy there was no appetite for another version of it so soon after RCA's, and so the next instalment in the Decca
2135:
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listener at home to get involved with Wagner's characters and the sweep of his great music-drama". For this, he believed,
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611:, with whom Decca had a reciprocal agreement to share artists. These projects were both brought to fruition. Although
944:
that are justified by this new album. Suddenly the whole concept of recorded opera seems to make a new kind of sense.
2552:
2389:
2128:
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In 1968 Decca issued the cycle as an integral set on 19 LPs, together with a three-disc addendum consisting of the
302:
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1905:
31:
975:, but she declined and Christa Ludwig sang the part. Among the nine Valkyries were well-known singers including
922:
described it as "a glorious achievement, which it will be difficult to equal and almost impossible to surpass".
1128:. Some reviewers felt that Hotter's Wotan, recorded late in his career, did not show him in his finest voice. (
892:
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has been generally hailed as the gramophone's greatest achievement". The recordings were later converted from
441:
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called them "Decca's incomparable engineers" − was ready to embark on a complete studio recording of the four
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was interrupted by contractual considerations. It was agreed by all concerned that for the other three
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Conrad L. Osborne called the set "Solti's finest recorded accomplishment to date", and added, "On to
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anything is an anticlimax. Solti has not attempted to overtrump, but to complete a satisfying
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Neither set was made in the recording company's own studios: the Decca set was taped in the
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has been voted the greatest recording ever made, and it has won numerous honours, including
2377:
2191:
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1176:, judged it to be the "benchmark recording … by which all others are judged". In polls for
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8:
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wrote of "the alchemy of Decca's magnificent, stunning, overwhelming new recording", and
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techniques that became possible shortly before the start of the recording of the cycle.
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undertook the role of the Woodbird (Waldvogel), far removed from her usual repertoire.
314:
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from the 1951 cycle was eventually issued in 1999 and the complete 1955 cycle in 2006.
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1271:, his book about the recording of the cycle, Culshaw quoted the "Perfect Wagnerite"
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330:, but the results were not considered satisfactory and were not issued at the time.
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587:, and without another classical recording in sight". But the progress of the Decca
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242:, in which form they have been continuously available since 1984. In polls for the
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148:. Of the four component operas, there had been two previous studio recordings of
117:
918:, Robertson called it "the greatest achievement in gramophone history yet", and
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record company began recording complete operas on LP in 1950, starting with
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Rich, Alan. "New Recordings", St. Louis Post-Dispatch, 25 July 1965, p. 37
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The reception of the set surpassed that given to its two predecessors. In
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2076:
1824:" Solti's Ring Remastered: Ascent to Valhalla or Descent into Nibelheim?"
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for an Italian station (recorded in 1953 and released in 1972) and a cut
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1994:
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20–27 May, 1–2 June, 27–31 October, 3–5, 17–20 and 22–24 November 1964.
857:
644:, Culshaw had under contract the leading Brünnhilde of the day and, in
537:
382:
231:
169:
97:
2116:. AHRC Research Centre for the History and Analysis of Recorded Music.
1116:". Unlike its three predecessors it did not have the field to itself:
2150:
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967:. Flagstad had died in 1962 and for Fricka, which she had played in
211:
and, in roles they did not play onstage, well-known singers such as
2497:
1843:"Remastered version of Sir Georg Solti’s Ring Cycle to be released"
789:
559:
Before the recording sessions, Culshaw's opposite number from EMI,
410:
operas. At Culshaw's instigation the company decided to begin with
155:
134:
record company made the first complete recording to be released of
1151:, both conducted by Solti, and an illustrated musical analysis of
164:, which was released on record in 1956, but Decca's was the first
1989:
1317:
Other less than admiring remarks about the participants included
1225:, much used by EMI and Decca as a central London recording venue.
1193:
297:
261:
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put it, "unthinkable". Piecemeal excerpts had been issued on
42:
381:
with Flagstad as Brünnhilde. Both sets were recorded in the
1891:
Von Rhein, John. "Reissues add luster to Solti's legacy",
377:
scene from Act II, and the whole of Act III, conducted by
2037:
Philharmonia Orchestra: A Record of Achievement 1945–1985
1181:
1120:
was already available on disc in recordings conducted by
1096:
The set was well received, but the predominantly lyrical
1082:
Original issue: Decca MET312–16/SET312–16; September 1966
338:
recording, developed in the mid-1950s, was a key factor.
243:
2005:. Vol. 4. Blackpool: Long Playing Record Library.
1882:"Gramophone Classics", Gramophone, December 1999, p. 40
1860:"Re-issue Of Solti 'Ring' Affirms It's Still Benchmark"
755:
Sutherland makes the most seductive of woodbirds". In
545:
Original issue: Decca LXT5495−97/SXL2101−3, March 1959
373:
with Flagstad as Sieglinde, and a separate one of the
727:
Original issue: Decca MET242−46/SET242−46; April 1963
400:
By 1958 Decca, with its pre-eminent technical team −
971:, Culshaw hoped to cast another former Brünnhilde,
900:
Original issue: Decca MET292–97/SET292−97; May 1965
788:in Act II, Culshaw determined not to resort to the
292:would have required well over a hundred discs. The
926:called it a "landmark in gramophone history". In
348:, later concurred; having heard the Decca set of
2524:
1199:
2059:On and Off the Record: A Memoir of Walter Legge
1246:as Brünnhilde, recorded by a Norwegian station.
603:. At around the same time she agreed to record
238:records. They were subsequently transferred to
784:agreed to sing the part. As Wagner called for
2136:
1784:Solti, pp. 183–184; and Stuart, pp. 1240–1241
1420:Culshaw, pp. 44–45; and Stuart, pp. 1117–1118
1067:31 October, 2–5, 8–12 and 15–19 November 1965
276:record in the late 1940s a complete recorded
2053:
1159:. Porter commented, "The magnificent Decca
963:took the role. For Sieglinde, Culshaw cast
579:charts of best-selling LPs, "surrounded by
2143:
2129:
2022:. Blackpool: Long Playing Record Library.
1558:Porter, Andrew, "Wagner – Das Rheingold",
1174:Music Critics Association of North America
30:
940:s Rich wrote, "It is not only Wagner and
1753:"First complete recording of The Ring",
776:Culshaw wrote, "Nilsson, Windgassen and
768:
16:1959 Vienna Philharmonic Orchestra album
2034:
1967:
1833:, Wagner Society of New York, June 2013
1715:
1713:
1598:Blyth, p. 395; and Culshaw, pp. 152–153
1449:
1447:
1362:
1360:
1136:
1079:Engineers: Gordon Parry and James Brown
897:Engineers: Gordon Parry and James Brown
741:The reviews were highly favourable. In
724:Engineers: Gordon Parry and James Brown
712:8–11 May and 22 October–5 November 1962
542:Engineers: Gordon Parry and James Brown
2525:
2104:
1428:
1426:
563:, had remarked to Solti and Culshaw, "
392:
2478:It ain't over till the fat lady sings
2124:
2075:
2017:
1946:
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1671:
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195:and leading Wagner singers including
1731:Covell, Roger. "Wagnerian glories",
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1423:
168:cycle planned and recorded for the
13:
1928:Culshaw, pp. 124, 175, 227 and 277
1895:, Section 4, p. 3, 24 October 2012
1677:Culshaw, John. "Götterdämmerung",
1666:
1369:
1065:Recorded in the Sofiensaal, Vienna
880:Recorded in the Sofiensaal, Vienna
819:Gunther – Dietrich Fischer-Dieskau
710:Recorded in the Sofiensaal, Vienna
632:
525:Recorded in the Sofiensaal, Vienna
14:
2564:
1522:
1975:. London: Secker & Warburg.
1488:everyone has been waiting for",
1032:Waltraute – Brigitte Fassbaender
385:, Vienna; the orchestra was the
230:The recordings were made in the
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1100:could not make the impact that
810:Siegfried – Wolfgang Windgassen
674:Siegfried – Wolfgang Windgassen
272:Before the introduction of the
1625:Robertson, Alec. "Siegfried",
1475:Stuart, pp. 1125−1126 and 1129
1405:
1390:
1381:
1348:
1339:
1228:
1211:
1070:Orchestra: Vienna Philharmonic
885:Orchestra: Vienna Philharmonic
715:Orchestra: Vienna Philharmonic
686:Wanderer (Wotan) – Hans Hotter
530:Orchestra: Vienna Philharmonic
1:
2083:. London: Chatto and Windus.
1871:Classical Voice North America
1332:
1221:, Vienna, and the EMI set at
1200:Notes, references and sources
1190:Grand Prix du Disque Mondiale
527:24 September − 8 October 1958
303:Die Entführung aus dem Serail
267:
53:Vienna Philharmonic Orchestra
2107:"Decca Classical, 1929–2009"
2105:Stuart, Philip (July 2009).
1809:Porter, Andrew. "The Ring",
938:The New York Herald-Tribune'
891:Producers: John Culshaw and
828:Alberich – Gustav Neidlinger
689:Alberich – Gustav Neidlinger
595:operas the participation of
536:Producers: John Culshaw and
183:by Decca's senior producer,
7:
2504:Hitler: A Film from Germany
2061:. London: Faber and Faber.
1010:Brünnhilde – Birgit Nilsson
807:Brünnhilde – Birgit Nilsson
701:Waldvogel – Joan Sutherland
683:Brünnhilde – Birgit Nilsson
10:
2569:
1935:
1699:Robertson, Alec, "Wagner.
1035:Schwertleite – Helen Watts
1004:Sieglinde – Régine Crespin
130:Between 1958 and 1965 the
2427:
2402:
2375:
2345:
2315:
2292:
2285:
2239:
2218:
2202:
2164:
2035:Pettitt, Stephen (1985).
2018:March, Ivan, ed. (1967).
1757:, 24 September 1966, p. 6
1733:The Sydney Morning Herald
1642:Greenfield et al, p. 1430
1466:, 10 December 1962, p. 14
1462:"Mme. Kirsten Flagstad",
1366:Stuart, pp. 1096 and 1102
1038:Helmwige – Berit Lindholm
1029:Ortlinde – Helga Dernesch
990:
955:For the last of the four
929:The Sydney Morning Herald
796:
663:
486:Fricka – Kirsten Flagstad
116:
104:
93:
85:
77:
41:
29:
21:
2418:Expecting Someone Taller
1940:
1204:
782:Dietrich Fischer-Dieskau
288:records, but a complete
234:, Vienna, and issued on
217:Dietrich Fischer-Dieskau
2553:Der Ring des Nibelungen
2491:Der Ring des Nibelungen
2438:(Georg Solti recording)
2436:Der Ring des Nibelungen
2157:Der Ring des Nibelungen
2039:. London: Robert Hale.
2003:The Stereo Record Guide
1813:, December 1968, p. 883
1681:, May 1965, pp. 517–518
1219:Großer Musikvereinssaal
1016:Fricka – Christa Ludwig
1013:Hunding – Gottlob Frick
751:The Stereo Record Guide
423:
345:New York Herald-Tribune
145:Der Ring des Nibelungen
2543:1960s classical albums
2538:1950s classical albums
2411:Der gerettete Alberich
2098:
2055:Schwarzkopf, Elisabeth
1954:. London: Hutchinson.
1387:Culshaw, pp. 21 and 46
1378:Pettitt, pp. 49 and 60
1155:by the Wagner scholar
1085:
1076:Producer: John Culshaw
1073:Conductor: Georg Solti
903:
888:Conductor: Georg Solti
730:
721:Producer: John Culshaw
718:Conductor: Georg Solti
548:
533:Conductor: Georg Solti
358:Decca hoped to record
342:, music critic of the
312:(Decca, 1950–51), and
2472:The Perfect Wagnerite
2336:Ride of the Valkyries
1917:Sydney Morning Herald
1744:Stuart, pp. 1166–1167
1735:, 17 July 1965, p. 12
1411:Stuart, pp. 1408–1409
1267:On the title page of
1062:
1001:Siegmund – James King
877:
831:Hagen – Gottlob Frick
707:
522:
280:was, as the producer
72:and 35 other soloists
2548:Decca Records albums
1793:Decca set RING 1–22
1766:March, pp. 68 and 71
1663:Culshaw, pp. 181−182
1580:Culshaw, pp. 126–128
1441:Culshaw, title pages
1137:1968: complete cycle
981:Brigitte Fassbaender
920:Desmond Shawe-Taylor
629:, four years later.
258:Grand Prix du Disque
1893:The Chicago Tribune
1562:, March 1959, p. 85
1236:Wilhelm Furtwängler
1161:Ring des Nibelungen
1122:Wilhelm Furtwängler
1007:Wotan – Hans Hotter
893:Christopher Raeburn
692:Fafner – Kurt Böhme
650:Wolfgang Windgassen
387:Vienna Philharmonic
371:Hans Knappertsbusch
252:magazine the Decca
201:Wolfgang Windgassen
189:Vienna Philharmonic
158:radio recording of
65:Wolfgang Windgassen
2458:What's Opera, Doc?
2451:Der Ring in Minden
1991:Greenfield, Edward
1911:2022-06-08 at the
1865:2021-10-21 at the
1849:, 5 September 2022
1829:2022-06-08 at the
1822:Sherwin, Michael.
1775:Schwarzkopf, p. 79
1722:in Culshaw, p. 220
1707:, May 1965, p. 541
1654:in Culshaw, p. 175
1633:in Culshaw, p. 173
1492:, 8 May 1965, p. 5
1149:Kinder-Katechismus
1108:commented, "After
601:Tristan und Isolde
315:Tristan und Isolde
187:, who engaged the
179:was conceived and
2520:
2519:
2398:
2397:
2383:
2353:
2323:
2300:
2090:978-0-7011-6630-4
2068:978-0-571-11928-8
2046:978-0-7090-2371-5
2020:The Great Records
1982:978-0-436-11800-5
1961:978-0-09-139980-1
1919:, 27 October 2012
1906:"A familiar Ring"
1184:(2012) the Decca
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911:
910:
738:
737:
615:comes next after
556:
555:
460:Gustav Neidlinger
375:Todesverkündigung
328:Bayreuth Festival
309:Die Meistersinger
175:The recording of
128:
127:
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2533:Opera recordings
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1986:
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1858:Robinson, Paul.
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1321:'s comment that
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1244:Kirsten Flagstad
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1055:Claudia Hellmann
996:
802:
669:
442:Eberhard Wächter
429:
366:Kirsten Flagstad
213:Kirsten Flagstad
191:, the conductor
34:
19:
18:
2568:
2567:
2563:
2562:
2561:
2559:
2558:
2557:
2523:
2522:
2521:
2516:
2444:Jahrhundertring
2423:
2394:
2378:Götterdämmerung
2371:
2366:Siegfried Idyll
2341:
2311:
2281:
2235:
2214:
2198:
2197:
2192:Götterdämmerung
2160:
2149:
2109:
2101:
2091:
2069:
2047:
1983:
1973:Ring Resounding
1962:
1952:Opera on Record
1943:
1938:
1933:
1932:
1927:
1923:
1913:Wayback Machine
1904:Cerebona, Ron.
1903:
1899:
1890:
1886:
1881:
1877:
1873:, 2 August 2015
1867:Wayback Machine
1857:
1853:
1847:The Independent
1841:
1837:
1831:Wayback Machine
1821:
1817:
1808:
1804:
1792:
1788:
1783:
1779:
1774:
1770:
1765:
1761:
1752:
1748:
1743:
1739:
1730:
1726:
1718:
1711:
1701:Götterdämmerung
1698:
1694:
1690:Stuart, p. 1159
1689:
1685:
1676:
1667:
1662:
1658:
1650:
1646:
1641:
1637:
1624:
1620:
1616:Stuart, p. 1151
1615:
1611:
1607:Culshaw, p. 143
1606:
1602:
1597:
1593:
1589:Culshaw, p. 136
1588:
1584:
1579:
1575:
1571:Culshaw, p. 124
1570:
1566:
1557:
1553:
1548:
1544:
1539:
1535:
1531:Stuart, p. 1134
1530:
1523:
1518:
1514:
1510:Culshaw, p. 94
1509:
1505:
1501:Culshaw, p. 130
1500:
1496:
1486:Götterdämmerung
1483:
1479:
1474:
1470:
1461:
1457:
1452:
1445:
1440:
1436:
1431:
1424:
1419:
1415:
1410:
1406:
1395:
1391:
1386:
1382:
1377:
1370:
1365:
1358:
1354:Stuart, p. 1094
1353:
1349:
1344:
1340:
1335:
1330:
1329:
1316:
1312:
1303:
1299:
1293:
1289:
1285:on the nerves."
1283:
1279:
1269:Ring Resounding
1266:
1262:
1256:Götterdämmerung
1254:
1250:
1240:Götterdämmerung
1233:
1229:
1216:
1212:
1207:
1202:
1180:(1999) and the
1144:Siegfried Idyll
1139:
1126:Erich Leinsdorf
1110:Götterdämmerung
1102:Götterdämmerung
1094:
1086:
1066:
993:
953:
942:Götterdämmerung
912:
904:
881:
799:
774:
771:Götterdämmerung
763:Götterdämmerung
739:
731:
711:
666:
658:Joan Sutherland
638:
557:
549:
526:
509:Hetty Plümacher
448:Waldemar Kmentt
426:
398:
351:Götterdämmerung
270:
221:Joan Sutherland
161:Götterdämmerung
73:
71:
67:
63:
59:
55:
51:
47:
37:
36:1997 CD release
17:
12:
11:
5:
2566:
2556:
2555:
2550:
2545:
2540:
2535:
2518:
2517:
2515:
2514:
2507:
2500:
2495:
2487:
2480:
2475:
2468:
2461:
2454:
2447:
2440:
2431:
2429:
2425:
2424:
2422:
2421:
2414:
2406:
2404:
2400:
2399:
2396:
2395:
2393:
2392:
2386:
2384:
2373:
2372:
2370:
2369:
2362:
2356:
2354:
2343:
2342:
2340:
2339:
2332:
2326:
2324:
2313:
2312:
2310:
2309:
2303:
2301:
2287:
2283:
2282:
2280:
2279:
2272:
2269:Nibelungenlied
2265:
2258:
2251:
2243:
2241:
2237:
2236:
2234:
2233:
2228:
2222:
2220:
2216:
2215:
2213:
2212:
2206:
2204:
2200:
2199:
2196:
2195:
2188:
2181:
2174:
2166:
2165:
2162:
2161:
2152:Richard Wagner
2148:
2147:
2140:
2133:
2125:
2119:
2118:
2100:
2097:
2096:
2095:
2089:
2081:Solti on Solti
2073:
2067:
2051:
2045:
2032:
2015:
1987:
1981:
1960:
1942:
1939:
1937:
1934:
1931:
1930:
1921:
1897:
1884:
1875:
1851:
1835:
1815:
1811:The Gramophone
1802:
1786:
1777:
1768:
1759:
1746:
1737:
1724:
1709:
1705:The Gramophone
1692:
1683:
1679:The Gramophone
1665:
1656:
1644:
1635:
1629:, April 1963,
1627:The Gramophone
1618:
1609:
1600:
1591:
1582:
1573:
1564:
1560:The Gramophone
1551:
1549:Culshaw, p. 91
1542:
1533:
1521:
1519:Culshaw, p. 99
1512:
1503:
1494:
1477:
1468:
1455:
1443:
1434:
1432:Culshaw, p. 17
1422:
1413:
1404:
1389:
1380:
1368:
1356:
1347:
1345:Culshaw, p. 21
1337:
1336:
1334:
1331:
1328:
1327:
1323:Wieland Wagner
1310:
1297:
1287:
1277:
1260:
1248:
1227:
1209:
1208:
1206:
1203:
1201:
1198:
1138:
1135:
1091:
1090:
1084:
1083:
1080:
1077:
1074:
1071:
1068:
1061:
1059:
1058:
1057:
1051:
1045:
1039:
1036:
1033:
1030:
1027:
1025:Vera Schlosser
1019:
1018:
1017:
1014:
1011:
1008:
1005:
1002:
994:
992:
989:
985:Berit Lindholm
977:Helga Dernesch
965:Régine Crespin
952:
946:
916:The Gramophone
909:
908:
902:
901:
898:
895:
889:
886:
883:
876:
874:
873:
872:
866:
860:
854:
848:
844:Second Norn –
842:
834:
833:
832:
829:
826:
820:
817:
815:Christa Ludwig
811:
808:
800:
798:
795:
773:
767:
746:Alec Robertson
743:The Gramophone
736:
735:
729:
728:
725:
722:
719:
716:
713:
706:
704:
703:
702:
699:
693:
690:
687:
684:
681:
679:Gerhard Stolze
675:
667:
665:
662:
637:
631:
597:Birgit Nilsson
570:The Gramophone
554:
553:
547:
546:
543:
540:
534:
531:
528:
521:
519:
518:
517:
511:
505:
499:
493:
487:
482:
481:
480:
474:
472:Walter Kreppel
468:
462:
456:
450:
444:
438:
427:
425:
422:
397:
391:
326:cycles at the
269:
266:
197:Birgit Nilsson
136:Richard Wagner
126:
125:
120:
114:
113:
108:
102:
101:
95:
91:
90:
87:
83:
82:
79:
75:
74:
57:Birgit Nilsson
46:
39:
38:
35:
27:
26:
15:
9:
6:
4:
3:
2:
2565:
2554:
2551:
2549:
2546:
2544:
2541:
2539:
2536:
2534:
2531:
2530:
2528:
2513:
2512:
2508:
2506:
2505:
2501:
2499:
2496:
2494:
2492:
2488:
2486:
2485:
2481:
2479:
2476:
2474:
2473:
2469:
2467:
2466:
2462:
2460:
2459:
2455:
2453:
2452:
2448:
2446:
2445:
2441:
2439:
2437:
2433:
2432:
2430:
2426:
2420:
2419:
2415:
2413:
2412:
2408:
2407:
2405:
2401:
2391:
2388:
2387:
2385:
2380:
2379:
2374:
2368:
2367:
2363:
2361:
2358:
2357:
2355:
2350:
2349:
2344:
2337:
2333:
2331:
2328:
2327:
2325:
2320:
2319:
2314:
2308:
2305:
2304:
2302:
2297:
2296:
2295:Das Rheingold
2291:
2288:
2284:
2278:
2277:
2276:Thidreks saga
2273:
2271:
2270:
2266:
2264:
2263:
2259:
2257:
2256:
2252:
2250:
2249:
2248:Völsunga saga
2245:
2244:
2242:
2238:
2232:
2229:
2227:
2224:
2223:
2221:
2217:
2211:
2208:
2207:
2205:
2201:
2194:
2193:
2189:
2187:
2186:
2182:
2180:
2179:
2175:
2173:
2172:
2171:Das Rheingold
2168:
2167:
2163:
2159:
2158:
2153:
2146:
2141:
2139:
2134:
2132:
2127:
2126:
2123:
2115:
2108:
2103:
2102:
2092:
2086:
2082:
2078:
2074:
2070:
2064:
2060:
2056:
2052:
2048:
2042:
2038:
2033:
2029:
2025:
2021:
2016:
2012:
2008:
2004:
2000:
1999:Denis Stevens
1996:
1992:
1988:
1984:
1978:
1974:
1970:
1969:Culshaw, John
1963:
1957:
1953:
1949:
1945:
1944:
1925:
1918:
1914:
1910:
1907:
1901:
1894:
1888:
1879:
1872:
1868:
1864:
1861:
1855:
1848:
1844:
1839:
1832:
1828:
1825:
1819:
1812:
1806:
1800:
1796:
1790:
1781:
1772:
1763:
1756:
1750:
1741:
1734:
1728:
1721:
1716:
1714:
1706:
1702:
1696:
1687:
1680:
1674:
1672:
1670:
1660:
1653:
1648:
1639:
1632:
1628:
1622:
1613:
1604:
1595:
1586:
1577:
1568:
1561:
1555:
1546:
1540:Solti, p. 113
1537:
1528:
1526:
1516:
1507:
1498:
1491:
1487:
1481:
1472:
1465:
1459:
1450:
1448:
1438:
1429:
1427:
1417:
1408:
1402:
1398:
1393:
1384:
1375:
1373:
1363:
1361:
1351:
1342:
1338:
1324:
1320:
1314:
1307:
1301:
1291:
1281:
1274:
1273:Ernest Newman
1270:
1264:
1257:
1252:
1245:
1241:
1237:
1231:
1224:
1223:Kingsway Hall
1220:
1214:
1210:
1197:
1195:
1191:
1187:
1183:
1179:
1175:
1170:
1166:
1162:
1158:
1154:
1150:
1146:
1145:
1134:
1131:
1127:
1123:
1119:
1115:
1111:
1107:
1103:
1099:
1089:
1081:
1078:
1075:
1072:
1069:
1064:
1063:
1060:
1056:
1053:Rossweisse –
1052:
1050:
1049:Marilyn Tyler
1046:
1044:
1040:
1037:
1034:
1031:
1028:
1026:
1022:
1021:
1020:
1015:
1012:
1009:
1006:
1003:
1000:
999:
998:
997:
988:
986:
982:
978:
974:
973:Astrid Varnay
970:
969:Das Rheingold
966:
962:
958:
951:
945:
943:
939:
935:
931:
930:
925:
924:Andrew Porter
921:
917:
907:
899:
896:
894:
890:
887:
884:
879:
878:
875:
871:
868:Flosshilde –
867:
865:
864:Gwyneth Jones
861:
859:
855:
853:
850:Third Norn –
849:
847:
846:Grace Hoffman
843:
841:
838:First Norn –
837:
836:
835:
830:
827:
825:
824:Claire Watson
821:
818:
816:
812:
809:
806:
805:
804:
803:
794:
791:
787:
783:
779:
778:Gottlob Frick
772:
766:
764:
760:
759:
758:High Fidelity
753:
752:
747:
744:
734:
726:
723:
720:
717:
714:
709:
708:
705:
700:
698:
697:Marga Höffgen
694:
691:
688:
685:
682:
680:
676:
673:
672:
671:
670:
661:
659:
655:
651:
647:
643:
636:
630:
628:
627:
622:
618:
617:Das Rheingold
614:
610:
606:
602:
598:
594:
590:
586:
582:
581:Elvis Presley
578:
577:
572:
571:
566:
562:
552:
544:
541:
539:
535:
532:
529:
524:
523:
520:
516:
513:Flosshilde –
512:
510:
506:
504:
500:
498:
494:
492:
491:Claire Watson
488:
485:
484:
483:
479:
475:
473:
469:
467:
463:
461:
457:
455:
451:
449:
445:
443:
439:
437:
436:George London
433:
432:
431:
430:
421:
417:
415:
414:
413:Das Rheingold
409:
405:
404:
396:
395:Das Rheingold
390:
388:
384:
380:
376:
372:
367:
363:
362:
356:
353:
352:
347:
346:
341:
337:
331:
329:
325:
321:
317:
316:
311:
310:
305:
304:
299:
295:
291:
287:
283:
279:
275:
265:
263:
259:
255:
251:
250:
245:
241:
237:
233:
228:
226:
222:
218:
214:
210:
209:Gottlob Frick
206:
202:
198:
194:
190:
186:
182:
178:
173:
171:
167:
163:
162:
157:
153:
152:
147:
146:
141:
137:
133:
124:
121:
119:
115:
112:
109:
107:
103:
99:
96:
92:
88:
84:
80:
76:
70:
69:Gottlob Frick
66:
62:
58:
54:
50:
44:
40:
33:
28:
25:
20:
2511:Harlock Saga
2509:
2502:
2490:
2482:
2470:
2463:
2456:
2449:
2442:
2435:
2434:
2416:
2409:
2376:
2364:
2346:
2316:
2293:
2274:
2267:
2260:
2253:
2246:
2210:Rhinemaidens
2190:
2183:
2176:
2169:
2155:
2113:
2080:
2077:Solti, Georg
2058:
2036:
2019:
2002:
1972:
1951:
1924:
1916:
1900:
1892:
1887:
1878:
1870:
1854:
1846:
1838:
1818:
1810:
1805:
1789:
1780:
1771:
1762:
1754:
1749:
1740:
1732:
1727:
1719:
1704:
1700:
1695:
1686:
1678:
1659:
1651:
1647:
1638:
1630:
1626:
1621:
1612:
1603:
1594:
1585:
1576:
1567:
1559:
1554:
1545:
1536:
1515:
1506:
1497:
1489:
1485:
1480:
1471:
1463:
1458:
1437:
1416:
1407:
1392:
1383:
1350:
1341:
1319:Walter Legge
1313:
1305:
1300:
1290:
1280:
1268:
1263:
1255:
1251:
1239:
1230:
1213:
1185:
1177:
1160:
1157:Deryck Cooke
1152:
1148:
1142:
1140:
1130:William Mann
1117:
1113:
1109:
1105:
1101:
1097:
1095:
1087:
1047:Grimgerde –
968:
956:
954:
949:
941:
937:
934:Roger Covell
927:
915:
913:
905:
862:Wellgunde –
852:Anita Välkki
813:Waltraute –
775:
770:
762:
756:
749:
742:
740:
732:
641:
639:
634:
624:
620:
616:
612:
604:
600:
592:
588:
574:
568:
564:
561:Walter Legge
558:
550:
515:Ira Malaniuk
507:Wellgunde –
503:Oda Balsborg
497:Jean Madeira
454:Set Svanholm
418:
411:
407:
401:
399:
394:
374:
359:
357:
349:
343:
336:stereophonic
332:
323:
313:
307:
301:
289:
282:John Culshaw
277:
274:long playing
271:
253:
247:
240:compact disc
236:long-playing
229:
225:stereophonic
185:John Culshaw
176:
174:
165:
159:
149:
143:
129:
123:John Culshaw
43:Studio album
23:
2493:discography
2484:Gods of War
2390:discography
2360:discography
2330:discography
2318:Die Walküre
2307:discography
2255:Poetic Edda
2219:Composition
2178:Die Walküre
1948:Blyth, Alan
1118:Die Walküre
1098:Die Walküre
1043:Vera Little
1041:Siegrune –
1023:Gerhilde –
950:Die Walküre
870:Maureen Guy
856:Woglinde –
840:Helen Watts
765:, please".
654:Ernst Kozub
646:Hans Hotter
613:Die Walküre
609:RCA Records
605:Die Walküre
501:Woglinde –
458:Alberich –
379:Georg Solti
361:Die Walküre
205:Hans Hotter
193:Georg Solti
151:Die Walküre
61:Hans Hotter
49:Georg Solti
2527:Categories
2262:Prose Edda
2203:Characters
1995:Ivan March
1333:References
1178:Gramophone
1104:had done;
961:James King
858:Lucia Popp
822:Gutrune –
786:steerhorns
538:Erik Smith
478:Kurt Böhme
383:Sofiensaal
268:Background
249:Gramophone
232:Sofiensaal
170:gramophone
98:Sofiensaal
22:The Decca
2348:Siegfried
2185:Siegfried
2011:873096263
1799:912887042
1755:The Times
1490:The Times
1464:The Times
1401:165864807
1106:The Times
790:trombones
642:Siegfried
635:Siegfried
626:Siegfried
585:Pat Boone
576:Billboard
565:Rheingold
476:Fafner –
470:Fasolt –
466:Paul Kuen
440:Donner –
403:The Times
340:Alan Rich
140:tetralogy
89:1958–1965
81:1959–1966
2498:Tarnhelm
2079:(1997).
2057:(1982).
2001:(1966).
1971:(1967).
1950:(1979).
1909:Archived
1863:Archived
1827:Archived
1196:awards.
1165:analogue
1153:The Ring
489:Freia –
434:Wotan –
264:awards.
181:produced
177:The Ring
156:monaural
154:, and a
118:Producer
100:, Vienna
86:Recorded
78:Released
45: by
2428:Related
2403:Sequels
2028:4195421
1936:Sources
1295:stereo.
1169:digital
695:Erda –
677:Mime –
495:Erda –
464:Mime –
452:Loge –
446:Froh –
2382:(1876)
2352:(1876)
2322:(1870)
2299:(1869)
2286:Cycles
2240:Source
2087:
2065:
2043:
2026:
2009:
1979:
1958:
1797:
1720:Quoted
1652:Quoted
1631:quoted
1399:
1194:Grammy
1088:
948:1965:
906:
769:1964:
733:
633:1962:
551:
393:1958:
298:Mozart
286:78 rpm
262:Grammy
94:Studio
2226:Music
2114:CHARM
2110:(PDF)
1941:Books
1484:"The
1308:any".
1242:with
1205:Notes
364:with
294:Decca
132:Decca
111:Decca
106:Label
2465:Ring
2231:Text
2085:ISBN
2063:ISBN
2041:ISBN
2024:OCLC
2007:OCLC
1977:ISBN
1956:ISBN
1795:OCLC
1397:OCLC
1306:sell
1192:and
1186:Ring
1147:and
1124:and
1114:Ring
991:Cast
983:and
957:Ring
797:Cast
664:Cast
640:For
623:was
621:Ring
607:for
593:Ring
589:Ring
583:and
424:Cast
408:Ring
324:Ring
290:Ring
278:Ring
260:and
254:Ring
246:and
219:and
207:and
166:Ring
24:Ring
2154:'s
2099:Web
1182:BBC
1167:to
320:EMI
300:'s
244:BBC
172:.
138:'s
2529::
2112:.
1997:;
1993:;
1966:*
1915:,
1869:,
1845:,
1712:^
1703:,
1668:^
1524:^
1446:^
1425:^
1371:^
1359:^
987:.
979:,
932:,
389:.
215:,
203:,
199:,
142:,
2338:"
2334:"
2144:e
2137:t
2130:v
2093:.
2071:.
2049:.
2030:.
2013:.
1985:.
1964:.
318:(
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