Wagner: Die Walküre (The Valkyrie) - DVD video

“Terfel is twice the Wotan he seemed at Covent Garden, displaying commanding tone and rough-hewn sensitivity. Deborah Voigt's Brunnhilde is attractively lyrical...Jonas Kaufmann and Eva-Maria Westbroek are superb Volsungs, in need of livelier direction.” BBC Music Magazine, June 2013 ****

“[Botha] cuts an ungainly figure but sings Siegmund just about perfectly; there's power to spare, he sings off the text, his soft singing is appropriate and touching. Haller has a warm sound and uses legato like a bel cantist; the occasional high note may fly sharp but she's exciting and committed...Thielemann and the Bayreuth Orchestra create a ravishing wall of sound and not a moment is less that aurally stunning: one listens, agape.” International Record Review, April 2011

“[Botha] is outstanding throughout as Siegmund...Dorst's production, and this filming of it, are at their best in the latter stages of Act 3 and the result is a powerful and affecting account of one of The Ring's greatest episodes...there's nothing obscure or understated about Thielemann's galvanising presence in the pit and seeing its effect on his singers in Act 3 makes these DVDs even more recommendable than the original CDs.” Gramophone Magazine, June 2011

“The sets, reflecting the blue-grey and orange hues of the Festspielhaus foyer, create some striking stage pictures...Botha as Siegmund is ungainly, yet gives this dark character unusual innocence and a voice both clarion and lyrical...Edith Haller's creamy-voiced Sieglinde is even more heartfelt...Albert Dohmen's voice isn't large, but delivery and acting make him a powerful Wotan.” BBC Music Magazine, June 2011 ****

“…this is the most exciting staging I've seen - slightly recalling Cirque du Soleil, perhaps, except that here the spectacle is wholly and intelligently at Wagner's service. Scenery combines dazzlingly mobile 3D computer projections on a towering cyclorama, with groups of acrobats. Inevitably some imagery works better than others; the harpyish Rhinemaidens, literally giving birth to the gold, are less compelling than the planetary descent to Nibelheim, or Walküre's opening wolf-chase and gleaming Tree, in which Wotan's ravens perch, and which scatters Siegmund's name like falling leaves. Against these amazing backgrounds the Gods, futuristically costumed, glide high above the stage on individual gantries propelled by 'invisible' stagehands... they're no barrier to keenly dramatic, involving performances from a fine cast, with some superb principals. ...it's all beautifully recorded on DVD - but on Blu-ray it's simply breathtaking, pin-sharp images and airy surround-sound drawing one into the Valencia stage with almost 3D effect. Wagner still responds best to Romantic imagery; but this redefines it on a cosmic scale. It's the finest Ring on video so far.” BBC Music Magazine, March 2010 *****

“Uusitalo is a commanding, mellifluous Wotan and although Jennifer Wilson's Brünnhilde is relatively unnuanced dramatically, she sings strongly and sensitively...The youthful Orquestra de la Comunitat Valenciana obediently and expertly delivers the plushy textures and stagey rhetoric Mehta requires” Gramophone Magazine, April 2010

“Sir Willard White's patriarchal Wotan seems subtler on screen, more smouldering than stiff, and sings richly… Eva Johansson's… makes a fiery, youthful Brünnhilde, more at one with her fellow Valkyries - a fine bunch - than usual. Rattle's conducting… is easy enough to enjoy - fluent, often sweeping - and, of course, beautifully played by the Berliners...” BBC Music Magazine, December 2008 ****

“Wind and brass detail, the accuracy and blending of the chording and that rhythmic precision which is a Rattle speciality lift the final colloquy between Wotan and Brünnhilde to Olympian heights.” Gramophone Magazine, January 2009

“There can be nothing but praise for Angela Denoke’s debut as Sieglinde, she seems to have taken up Rysanek’s mantle.” Opera News

“Nothing ever seen before on television has given a better insight into Wagner’s genius.” (The New York Times)

“None of the four video-recorded versions can be called ideal; but this Met cycle has plenty of strong points. It's the only one Wagner would have recognised – no small consideration. It's frequently assumed these days that he chose myth primarily to convey political allegory, but this is misleading. Myth inspired Wagner as directly as it did, say, Sibelius; and producers who ignore or mock this, like Patrice Chéreau on Pierre Boulez's rival set, miss a vital dimension.
Here, Otto Schenk and designer Gunther Schneider-Siemssen preserve the Romantic imagery, often beautifully, as Brian Large's cameras reveal; but also unimaginatively, with too many tired compromises. Some, such as the Rhinemaidens' non-swimming contortions and the feeble dragon, are embarrassing, and the costumes often look poor on screen. Individual performances, too, sometimes don't fit into a satisfactory ensemble.
This set can also claim musical superiority; but again, not conclusively. Boulez mistakes speed for energy, drying out the richness of the score; Levine, with the magnificent Met orchestra, tends to wallow in it, especially in a disappointing Rheingold. Matters improve from Walküre onward, but he's prone to sudden wheelspinning accelerations, sometimes wrongfooting his singers.
Boulez remains invisible at Bayreuth; Levine is too much with us, to the detriment of atmosphere.
Nevertheless, his monumental approach does bring out The Ring's sheer beauty and grandeur, where Boulez simply seems glib.
Levine's cast is superior, too, although the pivotal roles are the closest. Both Brünnhildes are splendid, spirited and deeply moving, but Boulez's Gwyneth Jones has the fuller voice; Hildegard Behrens, lithe and nervy, must force an essentially lyric instrument – quite successfully, but the effort shows. James Morris, aspiring to be a bel canto Wotan, has a richer voice Wagner Opera 1279 than Boulez's Donald MacIntyre, but his diction and his acting are less incisive – partly the producer's fault in Rheingold; he improves thereafter.
Siegfried Jerusalem, though, eclipses Boulez's inadequate Manfred Jung. More lyrical and vocally more heroic, he's a finer musician, less liable to strain and distort the line, and an impressive stage figure.
Jerusalem's surprisingly characterful Loge, despite his galia melon headgear, is probably the best thing in Rheingold. It's rewarding to hear the 'Narration' in this kind of voice. Otherwise this is lacklustre. A superb Rhinemaiden trio is left earthbound, writhing unconvincingly round Ekkehard Wlaschiha's buffoonish Alberich, short on menace until the final curse. Christa Ludwig's once definitive Fricka looks and sounds tired.
Levine's tempi in Rheingold rival those of Reginald Goodall, but without his structure and pacing; the Giants' entrance is marked molto pesante, not funereal. They, the Rhinemaidens and the lesser gods – especially Birgitta Svendén's keenvoiced Erda – outclass their betters.
Levine handles Walküre more successfully. Act 1, though, isn't a success. Gary Lakes' massive but rather lean-toned Siegmund is ill-matched with Jessye Norman, whose vocally searing Sieglinde is subverted by her grande dame manner, robbing the love scenes of any real involvement.
Behrens, however, injects Act 2 with life, and though Ludwig's Fricka still sounds tired, Morris begins to make an impact, singing rather than declaiming the Narration. With a ringingly athletic Valkyrie band, Levine rushes the Ride, but brings the act to a moving Farewell.
Siegfried is visually and musically the best, with Levine at his liveliest, and a Romantic forest out of Altdorfer or von Schwind. Jerusalem's ardent hero may lack Heldentenor heft, and suffer some constraint at the top, but he carries off the forging and lyrical scenes with credit. The Wanderer often suits basses' range and personae, and Morris's commanding, world-weary god dominates Zednik's veteran Mime (mercifully not Chéreau's cute victim), Wlaschiha's now mordant Alberich; and Svendén's eerie Erda. Levine's protracted 'Awakening' stretches Behrens, but she and Jerusalem infuse the love duet with appealing life.
Levine's expansiveness suits Götterdämmerung, which opens with a powerful trio of Norns and a radiant Dawn duet. Chez Gibichung, though, the temperature drops, with Anthony Raffell (a fine Wotan) a miscast, bumbling Gunther, and Gutrune sadly unseductive. Matti Salminen's brutish Hagen, though richly sung, lacks the essential supernatural undertones. Ludwig is much better as Waltraute, but Jerusalem and especially Behrens carry the performance with involving intensity. The Immolation strains her voice, but remains satisfyingly cathartic, aided by appropriate stage spectacle, though Valhalla's downfall is disappointing.
All told, while this set may be less stimulating than the Boulez, it's also less distracting – without, as an eminent colleague once remarked, someone forever shouting in your ear. As well as the original digital stereo, remixed surroundsound tracks convincingly evoke extra ambiance and detail. The image also remasters well, although you may want to turn up the colour.” Gramophone Classical Music Guide, 2010