SearchsearchUseruser

Wagner: Götterdämmerung - Haenchen

Wagner: Götterdämmerung - Haenchen

Etcetera  KTC 5503 (4 discs)

Stereo/Multichannel Hybrid

Classical - Opera


Wagner: Götterdämmerung

Nederlands Phiharmonisch Orkest
Hartmut Haenchen (conductor)

Support this site by purchasing from these vendors using the paid links below.
As an Amazon Associate HRAudio.net earns from qualifying purchases.

bol.com
 
 
 

Add to your wish list | library

 

5 of 7 recommend this, would you recommend it?  yes | no

All
show
Reviews (1)
show
hide

Review by John Miller - December 6, 2009

It seems as though present economic factors will probably not allow full-blown studio recordings of Wagner's Ring Cycle, but thankfully there seems to have been something of a rise in good theatrical performances which are ripe for recording. One such was the Netherlands Opera Cycle, which ran with several casts, and this Götterdämmerung was set down by Et'Cetera in 2005.

The Netherlands Opera's recorded production claims two firsts; the first to use the Neue Richard-Wagner Gesamtausgabe scores, and the first to utilize extensive annotations to C19th scores made by Wagner's assistants in preparing his own performances. Hartmut Haenchen has studied these in great detail, and discusses a number of Wagner's transcribed comments in the set's booklet. The cumulative effect of these features is to sweep away many generations of corrupted texts and accumulated performance traditions, much as in the cleaning of the Sistine Chapel frescoes. Orchestral colours are brighter, textures more transparent and the tapestry of interwoven Leitmotifs which illuminate the inner motivations of the singers and plot is displayed with great clarity, fully supported by the fine DSD recording.

Haenchen's reading is not in the expansive camp of Reginald Goodall, but in overall timing is remarkably similar to Solti's, although the general impression is one of consistently pressing the action forward according to Wagner's annotations. I would not say that the music feels driven in any way, but most of the longeurs of some versions, where the plot seems to go into temporary stasis, are eliminated or ameliorated.

Götterdämmerung comes on four discs, with Act 1 split onto two (with a rather jarring severance at the introduction to Scene 3); Acts 2 and 3 occupy a disc each. The discs reside in a folding Digipak, but unlike the Melbourne Ring there is no libretto. To more than remedy this, I strongly commend Rudolf Sabor's exemplary and inexpensive companion volumes for Phaidon, where the German text is placed side by side with his excellent translations which preserve most of the metre and sense of Wagner's text in parallel with the original, supported by lists of the Leitmotifs played during the singing, and insightful commentaries on the plot. This is by far the best way I know to immerse oneself in the Ring experience as the action progresses. The audience remain very quiet during Acts, but there is, of course, inescapable noise from stage movements, although the engineers have managed to keep this at a minimum. Lusty applause does erupt at the end of each Act, and this is not separately indexed.

Pierre Audi's production had the orchestra housed in front of the proscenium, the stage extended forwards around them in a curve, so that the musicians were on full view. Using the forward walkway, actors were often very close to the audience (and had their backs to the conductor). The orchestra (one of the main protagonists in the drama) was the presumably augmented Netherlands Philharmonic Orchestra, with which Haenchen has had much rapport. They make a fine Wagner sound, with lustrous strings, luminous woodwind and a fabulous brass section, which has a special sound and blend. I have to complement the horns; hearing all eight of them ranged across the sound stage in the final scene is truly memorable. Haenchen's experience with Baroque and Classical music led him to draw music of an enchanting chamber-like quality and mood in some scenes, recalling some of Mahler's late period scoring.

Since I am not a full-time Wagnerite and thus have not spent my life feverishly comparing all extant performances of The Ring for their vocal qualities, I base my assessment and marks on the overall dramatic and musical experience that this Götterdämmerung on discs brought me. I was caught up in the plot from the start, and held until the final satisfying catharsis. Stig Andersen's very Nordic heldentenor actually provided quite a young sounding Siegfried for once, considering his character is drugged in one way or another for most of the opera apart from about ten minutes. He held his tone well and his enunciation was excellent all through, particularly in the final act, where he really sounded inspired. The death scene in particular was moving in its sensitivity and dramatic impact.

As Brünnhilde, Linda Watson is also quite youthful. Her voice certainly attains the commanding power demanded of a Valkyrie, yet her tender moments with Siegfried were delicate and touching. Her Immolation Scene was also inspired, she exuded serenity and profundity as the funeral pyre was prepared and the Rhine began to flood the stage. Wagner's evil characters were also convincing; Kurt Rydl as Hagen was malevolent in his plotting, although strong emotions slowed down his vibrato very notably. The black-voiced Robert Bork, as Gunter, was often chilling, and became magnificently defiant and imperious after his murder of Siegfried. The Rhinemaidens, Alexandra Cocu, Natasha Petrinsky and Elena Zhidkova were quite the best as a trio I have heard; coquettish, wheedling and wooing magnificently. Finally, the Chorus of the Netherlands Opera provided richly-toned and well-disciplined singing and atmosphere.

The open stage arrangements alluded to above must have provided nightmares for the production and engineering staff, but the result is a considerable success for capture of a live performance, mostly taken on one date. The all-important balance between singers and orchestra is well judged, with voices rarely being overwhelmed by the orchestra. Character movement was revealed by changes in position within the sound-stage, which was wide and had a notably deep perspective. However, unlike the Melbourne recording, the rear channels are used only for ambience. The orchestral layout was well-focussed, and in multichannel it was evident that the stage area was very high and more ambient than the audience-filled auditorium. The discs carry a considerable dynamic range, with satisfyingly rich and extended bass, so that played at a good volume the dramatic turning points such as Siegfried's Funeral March and the final scene built up great tensions and resolutions. The downfall of Valhalla was positively catastrophic, yet there are no extra sound effects as on Culshaw's Ring; Haenchen and Audi preferring to let the music speak for itself, which it does, eloquently.

I greatly enjoyed this Götterdämmerung; it has left a lasting impression. Despite the imminent (and expensive) arrival of the Solti Ring on SACD, Wagnerites will want to hear it for its textural and musical refurbishing.

Copyright © 2009 John Miller and HRAudio.net

Performance:

Sonics (Stereo):

Sonics (Multichannel):

stars stars stars