Wagner: Das Rheingold

“Janowski's dramatic instincts and his ability to obtain orchestral playing of great intensity and presence are as keenly honed as ever – there are some thrilling interludes in this Rheingold...the classiest [vocal] performances come from Günther Groissböck's Fasolt and Iris Vermillion's Fricka.” The Guardian, 30th May 2013 ***

“he fields several outstanding singers from the rising Wagnerian generation ...Above all, this is Janowski’s triumph. His decision to focus on the music at the expense of theatrical ideas has been criticised, but he is vindicated by the gripping, dramatic playing here.” Sunday Times, 2nd June 2013

“The immediacy and precise placing are thrilling...Solti gives a magnificent reading of the score, crisp, dramatic and direct. Vocally, the set is held together by the unforgettable singing of Neidlinger as Alberich...An outstanding achievement” Penguin Guide, 2010 edition ****

“…the momentum of Keilberth's conducting offers strong support to the dark Wotan of Hans Hotter, and to the scheming of both Gustav Neidlinger's Alberich and Rudolf Lustig's Loge. This Donner (Toni Blankenheim) is a hammer-swinging Thor, and the Froh of the Austrian tenor Josef Traxl has a lyrical sense of innocence.” BBC Music Magazine, April 2008

“Here we are at the start of the revelatory Bayreuth Ring of 1955, and from the very first primordial sounds Joseph Keilberth establishes that this is to be a very special cycle. The opening scene is dominated by Gustav Neidlinger's nonpareil of an Alberich, who in the third scene becomes a frightening incarnation of malevolent power. But the Rhinemaidens aren't as steady as one might wish.
Scene 2 brings a kaleidoscope of authoritative interpretations, headed by Hans Hotter's commanding Wotan, a thoughtful portrait of an overweening, troubled figure sung with a Lieder- like attention to verbal detail. Georgine von Milinkovi? is a suitably imposing Fricka and a convincing nag. Ludwig Weber's expressive, articulate Fasolt is partnered by Josef Greindl's louring Fafner. Rudolf Lustig's strongly sung Loge – no comprimario tenor he – is not the most fluent piece of singing, but he gives the text real meaning. Among the minor gods Josef Traxel stands out for his beautifully lyric Froh, luxury casting from one of the leading tenors then active in Germany. Maria von Ilosvay as Erda and Paul Kuen as Mime are just as characterful as in in Siegfried. Over all you have once again a sense of a truly experienced ensemble, each member of which plays to the other.
Once again, one is astounded by the ideal capturing of the Bayreuth acoustics and by the superlative playing of the orchestra, stimulated by Keilberth's astutely dramatic conducting.” Gramophone Classical Music Guide, 2010

“Keilberth's conducting throughout is electrifyingly intense...[Hotter] is here at his very finest early in his career, his voice steady as rock. Gustav Niedlinger as Alberich also gives a classic performance...The rest of the cast cannot be faulted, making this a hot contender in a closely competitive field, matching and even outshining most more recent versions.” Penguin Guide, 2010 edition ***