|Signed Photo of Eva Marton as Brunnhilde.|
Photo owned by Andrew Howe.
In the interest of continuing our summer program along the same vein, here's a look at Bernard Hairink's underrated version of Wagner's mega-mythological cycle.
When the Haitink Ring hit the market, it faced a lot of stiff competition. Georg Solti and Herbert von Karajan had made classic cycles (in the '60s and '70s, respectfully). James Levine had unleashed his Metropolitan Opera forces on a set of audio and video readings of the four operas. And live recordings from Fürtwangler, Böhm, and Boulez peppered the already-overstocked shelves of the big classical music stores--Tower, HMV and (later) the Virgin Megastore.
All of those are now gone, and the classical music industry has reduced its output to a trickle of CDs and a flood of reissues. So it's time to re-assess Bernard Haitink's durable version of the Ring. Assets of the recording include a fine Siegfried sung by ex-bassoonist Siegfried Jerusalem, tenor-that-never-was Reiner Goldberg as his daddy Siegmund, and Matti Salminen as an impressive Hunding.
Theo Adam, who recorded Wotan for Karl Böhm, here shifts to Alberich. He was much older when this recording was made, but his snarls suit the dwarf. Waltraud Meier is an excellent, bitchy Fricka (only in Walküre) Marjana Lipovsek sings the role in Das Rheingold opposite the Wotan of James Morris. Morris, in turn sounds better on this set than on the Levine cycle. Finally, Götterdämmerung features a superb trio of Gibichungs. Thomas Hampson is an heroic, yet appropriately wimpy Gunther, Cheryl Studer as Gutrune, and John Tomlinson, is in fine, gruff voice as the treacherous Hagen.
Unfortunately, there is one big negative in this set, the stentorian Brunnhilde of Eva Marton. She sings most of the role without inflection, keeping her big, laser-like soprano on full blast even in the most lyrical passages. The decision to have her sing all three phrases of "Heil dir Sonne" (from Siegfried) at full fortissimo destroys Wagner's intentions and robs the Awakening scene of its beauty. However, she gets better in the later pages of Götterdämmerung, particularly the confrontation in Act II and the radiant finale. She is aided by the underrated Munich orchestra, in superb, shimmering form, led by a conductor who appreciates textures and nuances found in the more obscure corners of the score.