---
product_id: 63249739
title: "Wagner - Der Ring Des Nibelungen"
brand: "richard wagner"
price: "$180.01"
currency: USD
in_stock: true
reviews_count: 8
url: https://www.desertcart.ec/products/63249739-wagner-der-ring-des-nibelungen
store_origin: EC
region: Ecuador
---

# Wagner - Der Ring Des Nibelungen

**Brand:** richard wagner
**Price:** $180.01
**Availability:** ✅ In Stock

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- **What is this?** Wagner - Der Ring Des Nibelungen by richard wagner
- **How much does it cost?** $180.01 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.ec](https://www.desertcart.ec/products/63249739-wagner-der-ring-des-nibelungen)

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## Description

JANOWSKI MAREK

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## Customer Reviews

### ⭐⭐⭐⭐⭐ 5.0 out of 5 stars







  
  
    The Modern Reference Recording
  

*by D***R on Reviewed in the United Kingdom on 12 April 2010*

This early digital recording is to my mind the last great Ring recording of the modern era and the best studio version ever. It seems neglected by many. Is this because Janowski isn't as well known outside Germany and Poland or because it was recorded on a minor label and is here sold at a budget price? Maybe some believe it must be an inferior ring because of the lack of marketing, in which case they are missing out on a great recording. It was released in the early 80s to good but not outstanding reviews, (fashions in Wagner productions come and go I suppose). However I feel that the passage of time has been very kind to this one and it needs fresh appraisal. For the singers this is their finest hour; capturing voices at their peak and no subsequent recording improves on this version. I find that this is a studio version that almost captures a live atmosphere without the downfalls of a live recording, perhaps because it was recorded in fairly short periods (RG - 4 days; DW - 7 days; SG - 2 months; GD - 3 months), or the takes were longer? It also helps that the cast is very consistent throughout the Cycle. Now I'm aware that it's a minefield out there and some very strongly held opinions are waiting to pounce. And we all know that such an enormous enterprise cannot be totally consistent. Reviews will go into detail about individual voices or orchestral sound, etc. If that is important to the reader then research extensively because the views often contradict and can be quite personal, just as this review is. Your investment needs to be made carefully, although 2 or 3 out of the versions I've selected will definitely satisfy most listeners.My most listened to version is the Böhm Bayreuth recording, followed by Solti, Furtwangler (La Scala), Krauss and Goodall, with excerpts from Levine and Boulez and smatterings of some other older, live recordings. I like to listen to the older recordings but the quality of recordings can definitely require some "filling in!" Not that I'm an audiophile; I just like clear, natural sound. If you can ignore this problem then it might be for you. OK, sound first :A pioneering digital recording. Microphone placement and balance is practically perfect e.g. Siegfried's funeral march will astonish you with its power and clarity. Sounds and voices emerge from silence in a spectacular fashion. Dynamic range is huge, which can be a bit anti-social and entails frequent volume adjustments, so not one for listening to on the move.Next, the orchestras and the interpretation of the music:Janowski - There is a modesty about his conducting and a clear, intellectual approach. The music moves along quicker than most conductors, but not at Böhm's speed. In fact, each scene seems to move along quicker than any other version because you're so into the drama, unlike some versions where I'm glancing at my watch or waiting for the next cue point on the CD. The balance between orchestra and voices is almost perfect; everything clearly heard and the most revealing of the score. He allows the drama to unfold naturally. It just feels right; the nice changes in pace, the emphases, space for the music, the love for the score. He's moved right away from the overly reverential and bombastic approach favoured by some well regarded older recordings - mentioning no names! Listening to this version I've gained the greatest understanding of the music yet - without being dazzled by a "look at my brilliance" interpretation. Accuracy of rhythm and attack are exemplary. Also worth noting is how well most singers and orchestra support each other and listen to each other. Recordings since have often been either too rapid, turgid, thin sounding or marred by very variable singers. The Dresden players are of course superb with spot on timing, tone, that "golden sound" plus great discipline; a match for the VPO. Remember too, it was Wagner's orchestra.The bit that most people want to know about is the singing and performing, as it should be. Trust your ears. Here's where opinions differ radically. I wonder whether much of this is to do with first encounters, or taking what some music critics say as gospel?So what about Janowski? This cast is excellent and rather than listening with a critical ear that constantly compares to other recordings, or is wooed by the performance of a particular singer, you can just enter into the character immediately, which is why it bears repeated listening. What about the leads? Yes, it would be nice if we could have the huge voice, glorious tone and emotional depth of Flagstad, or the amazing intensity and stamina of Nilson, but Altmeyer sings superbly considering those that sang before her and that can never be criticised. German speakers have criticised her `American' accent. Some say she is too lightweight, but is that because she really is or because the `Legends' of the past had bigger, mature voices and we think that is how she should sound? True, she doesn't quite make it in the notoriously demanding immolation, but I can forgive her for her valid interpretation. The latter-day Brunnhilde's are often unbearable to me; try listening to Behren's for hours on end, or Jones! However Altmeyer really could be the teenage Valkyrie that Wagner intended. She has depth. She has a lighter tone and youthfulness that makes you believe in what you are hearing and she produces the loveliest sound of any - apart from Flagstad. If Altmeyer could commit as well as Nilson I would be very happy, but like any Ring recording we must accept compromises. Even if you don't think she is well cast as Brunnhilde (I do), there's no denying that there is light and shadow in the portrayal of another flawed character in the poem.Kollo as Siegfried is the real highlight though; this is an intelligent and lyrical reading of the impetuous youth. He's probably at the limit for his voice, but he was always one of the most thoughtful singers and that's a great bonus here. Again - in comparison - the great interpreter Windgassen could also sound dry and old - to me - for Böhm and Solti. Theo Adam always gets knocked and every review always starts with some negative qualifications, but he had a long career singing the part of Wotan and was chosen for good reason; he understood the role and was the best at the time, and the best after Hotter (personally I prefer Adam's Wotan because I think he is more in character). His declamation is superb. Sometimes he sounds better than in the live recording from 15 years earlier. Anyway, he always manages to move me and as the Wanderer for Janowski he seems stronger and steadier of voice. Alberich is nearly always well sung and Nimsgern is well cast with his distinctive, dark and harsh tone; the best modern Alberich after Niedlinger to me and I think he presents him as a more complex character than others manage. The twins are beautifully sung by Jerusalem and Norman - who was then young enough not to overpower and enunciates superbly, as do all the cast (a great Ring for following the Libretto). The Rhinemaidens are beautifully sung (a strong team again - as are the Valkyrie), sounding like playful girls rather than a hen party warming up. In contrast we have Moll as Hunding. He cannot put a foot wrong for me and if I was Siegmund, I'd get out of there quickly! The smaller parts are well supported; Matti Salminen even elicits sympathy for Fafner as a magnificent dragon and his Hagen is the most frightening ever recorded. But a special mention should go to the finest Mime we have from Peter Schreier. He really sings the part and gives you all the complex facets of the character better than anyone else. In Rhinegold he sings Loge with great character too (only Emile Belcourt for Goodall is better to me). Siegfried was always the part of the drama I would have the greatest difficulty in staying with, but Janowski and his singers keep it interesting and moving and allow you to really follow the action - largely due to the interplay between Kollo, Schreier, Salminen and the gods Wotan and Erda. One thing I notice each time I listen is how the more "fallen" characters aren't just intrinsically evil, but are corrupted by the Ring and the forces unleashed. Other versions fail to reveal this to varying degrees which cheapens and oversimplifies the drama. Really, everybody sings beautifully without force or strain.Many reviews stress the parts of the cycle and the individual singers, but ultimately it's about the drama as a whole. Wagner stressed the importance of the acting and the drama. Initially the score was almost secondary - although he changed a little after Siegfried as the motifs became increasingly complex and his philosophical outlook altered, but it's still about the overall effect rather than the parts. Also, we know there's no such thing as a perfect Ring and in today's climate we are a long way from getting close to past glories so we have to look at what we are left with and there are some great recordings to choose from. I used to turn to Böhm's live set for the sheer drama. Solti is great for winning over new listeners and dipping into, and the older recordings are a revelation to the experienced listener, but Janowski's is the one I turn to for enjoying the score and the drama, while marvelling at the playing and beautiful sound. Some have said it tends to pull back at moments of highest drama. No, that isn't true and is based on selecting `bleeding chunks' to compare with others. I find it's just true and free of bombast. The Solti ring suffers from an excess of pathos, weight and gimmickry and this has coloured much perception of Wagner's music. Some "effects" may seem a bit weak after Solti (e.g. Donner's hammer blow to summon the rainbow bridge is cataclysmic in Solti but should be scored for a triangle according to Wagner. Janowski is true to this), but it always sounds lovely and you will keep returning to it. Unfortunately the accompanying booklet doesn't include a libretto and you will need to use another recording's, or buy one or download a free one in the public domain. Don't be put off by the lack of gushing reviews and those that want you to part with lots of money for less "common"/esoteric/fashionable, but faulty recordings; trust your ears, this is a superb Ring at an amazing price.

### ⭐⭐⭐⭐ 4.0 out of 5 stars







  
  
    Solid Ring
  

*by W***1 on Reviewed in the United Kingdom on 30 October 2008*

My title sounds like faint praise, but it isn't! As anyone with more than a glancing acquaintance with the Ring will know, it's difficult to give it an adequate performance, never mind a great one - and all the existing records fall short of greatness in some way.This early 80s East German production is a very safe bet: in fact, I'd say it's probably the best introductory recording for someone unfamiliar with the work.  Janowski may not have the strongest musical personality but he does tend to let the music speak for itself; and his cast would be very hard to beat today - most of them were the prime exponents of their roles at the time of recording.  Theo Adam has never been one of my favourite Wotans, but the ear soon adjusts to his powerful, if somewhat gritty, tone.  Rene Kollo is an excellent Siegfried and Jerusalem and Norman are splendid as his parents.  Peter Schrier's Mime is the most beautifully sung performance of this role I have ever heard. The early digital recording is impressive.  This is not the only Ring you need to hear, or the only Ring you should own if you're a Wagnerian, but it's certainly one to live with.

### ⭐⭐⭐⭐ 4.0 out of 5 stars







  
  
    An alternative to the Solti approach
  

*by D***B on Reviewed in the United Kingdom on 30 November 2008*

Anyone who finds the famous Solti set too heavy handed should try this. In fact even if you like that set you may be pleasantly surprised by Janowski's very different approach, which emphasises the beauty and subtlety of the music rather than sheer power or thrilling climaxes.Among the singers, Rene Kollo as Siegfried is the star of the show but they're all either very good or excellent.Janowski might not give you everything you want from Wagner, but he will certainly give you new insights into this inexhaustibly fascinating masterpiece.

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*Last updated: 2026-02-22*