Despite any adverse criticism, I adore Dame Gwyneth's voice and her interpretations. Here, she manages to combine a voice of Wagnerian dimensions with a physical vulnerability which, in my opinion, has yet to be beaten after almost 33 years.
I've listened to a lot of Immolation scenes and despite her wobble, I keep returning to Jones & this Boulez/Chereau production. She's the ONLY one I've heard so far who cuts over the orchestra in ALL the parts of her voice. I think the flaws actually make for an intense performance. IMO, she has just the right combination of "ping" and warmth, & she moves! Many of the current Brunnhildes, while possessing lovely voices, are too "fluffy" sounding. She IS Wotan's daughter, after all..
Gwyneth Jones is the greatest voice ever. Other sopranos said at the time that it was not possible to sing like that, that she was a monster. Praise Welsh monsters!
Thanks for posting this. The music from the finale of the Ring Cycle has been with me since I was a child--many years before I even heard it, if you can believe that, so it means a lot to me to be able to see a theatrical depiction of it and to hear the spine-tingling strains of the Valhalla theme. Once again, thanks.
God Bless Astrid and Birgit. There IS a Valahalla in the afterlife, and Wagner himself conducts. These video excerpts are highly and intensely addictive. Starting at 6:51, I want to cross over. And the modulation at the end from minor to major slays me.
I was a student and lucky enough to see the two last cycles 1980 (thank God and Erna Pitz) including meetings with Patrice Chéreau and Pierre Boulez. It changed my artistic life. This Ring is marvellous, never using too much the incredible richness of the driector's theatrical invention. Chéreau was the most superb stage director, magic was his way to move actors and unbeatable the sense for colours and light. Telling this complex story in such a straight, but subtle way makes him unique. R.I.P.
what a glorious sound! i know there are those that harp on the "screeching" and inconsistencies that may or may not be present in her singing at times, but the voice here was awesome and awe-inspiring. Brava!...
¡¡¡Magnifica Interpretacion!!!; Jones en un gran momento, de su extensa carrera, dando lo mejor de su veracidad interpretativa, tanto en lo vocal, como en lo inter- pretativo.
Musically Nilsson can't be touched. But Jones is arguably the best theatrical Brunnhilde (for singing and acting) and this entire Ring is one of the greatest staging ever. Watch it all the way through and be convinced.
Rattus Yu That’s true, but I admire her so much anyway. She was always vocally better-behaved in Italian roles, where she didn’t push her voice so hard. But her Wagner and Strauss roles are brilliant nonetheless.
Yes, it really is. Wagner is the most holy composer. Always when I listen to his music I feel as reborn, especially after Goetterdammerung! This is why I love Wagner so much. If everybody listened to Wagner's music, our World would be better! (Oh, if people just knew that...)Thank You for Your comment!
GUAAAAAUU es la primera vez que escucho un aria de wagner, es increiblemente dificil, el volumen, la potencia que hay que sostener, en un registro relativamente incomodo para cantar. IMPRESIONANTE. y la orquesta suena impresionante. sin palabras
Understanding of drama becomes emotion. Free of any moral or ethical judgement. Thank You Wagner for such wonderful way to transmit the eternal message.
@rumpwrestler I totally agree with you. There are/have been other great Wagnerians but, for me, there hasn't been anyone who has quite managed to combine the requisites to be an outstanding Wagnerian; vocal prowess, stamina and 1st rate characterisations. She always seems so believable on stage; how does she manage to get underneath the skin of every character and make us believe that she is actually Brunhilde/Sieglinde/Kundry/Senta, etc.? Truly amazing and one of the greatest performers.
Sitting through Castorf's Ring at Bayreuth this week, I was _longing_ for something as evocative as this, but was given nothing that could compare. Chéreau's production may have upset the audiences of the 70s, with its semi-disposing of the traditional mythical context, but it still did the music justice and gave the drama some force! I have seen nothing as beautiful this week as the white figure of Gwyneth Jones on a backdrop of fire and darkness.
"Don't do it Brunnhilde!-Ah man she does that EVERY time"...But seriously WOW! shivers and tears as always. I am new to Gweyneth Jones but after this methinks I am her fan. Now all I need is the box set of DVDs!
In terms of dramatic impact, this is far and away the greatest account of the Immolation ever recorded. Nilsson and Flagstad were certainly more precise, but Jones' fiery commitment is astonishing. I'll take an imperfectly pitched note or two any day...
I saw her sing this at the Met in rehearsals. They did the complete Götterdämmerung. I was thrilled. She came down to talk with a friend of mine. THEN!!! she had to rehearsal ALL of the music with the "other" tenor for that run. She was AMAZING!!!! And so nice as can be. She sounded equally engaged the second time around.
It is by far the best production and makes sense as 30 years of hyperpole of Wall Street burns before our eyes and mainstreet is left to fend for itself
The way the cast at the very end turns around and faces the audience in silence is a master stroke of the highest order. The gods overreached, and self-destructed on jealousy and ambition. Responsibility for our species, the Earth, and perhaps for the entire universe if Frank Tipler is on to something, is now ours -- we being the spectators to the Ring, the greatest of all staged debacles.
platero55: doesn't it all just start again? Isn't that the point of a cycle? doomed to repeat itself over and over through eternity, the ends and the beginings puncuated by an apocolypse, a "kalpa" in Sanscrit, an ending of one cycle and begining of the next. As for this being "one of the most important scenes to the entire history of operatic music", I have read of many important musicians and opera critics who see Gotterdammerung as failingly overwrought, but I love it.
Like a clear minority of the commentators here, I love Patrice Chéreau’s staging. I’ll admit two things immediately: (1) the revolutionary elements of the production (pun intended) would have much less impact if you didn’t know the traditional setting, and in that sense the latter is fundamental; and (2) the 1976 Chéreau version probably works better on film than it did on stage. (The camera shots scanning over the crowds during the funeral music and finale wouldn’t be seen by a live audience, unless you used video screens along with the live singers-and that really is a gross thought.) BUT given those caveats, look at the production as a whole. Chéreau has a complete vision of the meaning of the Ring; it’s internally coherent and externally relatable to Wagner’s own vision and to the outer world (although of course it disagrees with much of Wagner’s Weltanschauung, and a damned good thing too); practically every detail of staging and symbolism is meaningful; and it speaks to us TODAY (or at least attempts to) instead of genuflecting to a supposedly immortal and unquestionable past. There will always be a place for the traditionally staged Ring. But some artists won’t be content with reflecting Wagner’s creative genius-they’ll want to co-create, to imagine anew, to take chances. And every once in a while, an interpretive work of genius will be superimposed over Wagner’s-not taking its place, but extending it into new realms of thought and emotion. That’s the target Chéreau shot for. It takes not only creativity, but guts. If it’s a failure, it’s an honorable failure. But if it succeeds, it’s a Ring for the ages.
I viewed this particular production of the Ring cycle last week and of the four parts, I enjoyed the Walkure best of all. Can you imagine what the Ring would look like if the director Peter Jackson were to film this?
@Chrysothemis; You liking this production is fine. I'm not trying to change anyone's POV about how this should be staged. I'm just expressing my opinion of what I like. When I want to see a traditional Ring on DVD, I'll watch the Met version. If I want to see a production live, I'll go to Seattle. It's just a matter of taste. And not every opera enthusiast is the same. I wish you well and have fun enjoying modern productions of Wagner's Ring. ;-)
@deusirae76 Although, she did not sing Isolde (in its' entirity on stage) or continue with Brunhilde, Leonie Rysanek was another excellent Wagnerian, who shared many roles with Jones and Nilsson. Many Sieglindes have tried but I cannot look past Rysanek's interpretation here. I think of all three singers, Rysanek had the most thrilling upper register - those E flats/screams as Sieglinde or the end of Der Fliegende Hollander? Excellent stuff.
Right! She IS amazing singing! Her voice and its power is brilliant! BUT her pronounciation of German....hmm....i would say....it could be much better:P But she is great!
Fantasy and legend - exactly, beautifully expressed. but that does not place a limit on place or time. . Besides Wagner himself stated "Kinder schafft Neues" when referring to stage interpretations of his works. I think he would have loved this poetic, sincere and extremely moving production. Apart from Gwyneth just watch Altmeyer and Hoffmann as the most sensual and credible Welsung couple. I have never experienced such a convincing couple in Bayreuth.
It's so difficult to find someone to do this role complete justice. Nilsson was probably as close to perfection as we've had, but I've only heard her on the Solti recordings so who knows how effective an actress she was as Brunnhilde. Behrens was such a brave performer (I loved her Met "Elektra" although that part to stretched her to the max.) Voigt (fantastic in that same "Elektra") doesn't have the powerful voice she once had, which sadly diminishes her Brunnhilde. But you have to love her
@deusirae76 This is now into difficult ground for me as I greatly admire both of these Wagnerians for different reasons; I have to reiterate that this is purely a personal opinion. Birgit Nilsson was one of the most thrilling and exciting singers - her Isoldes from Bayreuth are just out of this world - but, for me, she lacked Jones' warmth and compassion. Whereas, Jones captured the character's soul but did not always have the vocal security of Nilsson at her prime. Both excellent artists.
@bb1111116 The way I see it, there are two ways of staging the Ring: you either do a literal staging as specified in the score, or you come up with your own, based on your interpretation of the work. The first will be generalized, allowing the audience to make up their own minds. The second, at its best, will be personal, showing the audience yet another relevant facet of a work they thought they knew inside out. This, in my mind, is the textbook ideal example of the second approach.
There is no wobble in her voice in this performance. I'm not saying that there aren't times where one is present but it seems that some people suffer from the power of suggestion: Someone mentioned/suggested a wobble in Jones' voice and now it's SUPPOSED to automatically be there everytime she performs.
@juanmaplante, casi siempre es impresionante la orquesta ( y añádele la acústica ), es como los Berliners ( me refiero a los philarmonikers ), por supuesto
I just always get from her "Its all about being loud on high notes" but sometimes I'd prefer more line..yes even in Wagner. It just sounds to me like she has an incredible instrument that she never quite learned how to control completely.
@Chrysothemis Allegory needs to fit. The opera is based on a 1000 year old mythology which has magical objects and beings. It is that magic with its symbolism which allows the story to work. The last scene in this production shows a 19th century street where ~ 50 bystanders passively watch a mad woman who is committing suicide. The behavior of this 19th century crowd does not make sense. All the clumsy use of allegory does is mask the more accurate meanings of the opera.
@bb1111116 I agree with you. The only reason I watch this video is because of Gwyneth Jones (hair style, dress, hand gestures, and singing; she shines in this).
What happened to Alberich anyway? I was left feeling confused as to how the dwarf could be prevented from simply stealing the ring again. Can anyone explain this?
I love how the dramatic music is played and the theme changes 3 times (Rhein maiden theme, Valhalla theme, Brunnhilde/Siegfried love theme) while a bunch of people do nothing but stand around. NOT.
@@georgeberger8974 My point is nothing happens. The working class was here before the immolation and after the immolation. This is where the concept of this staging breaks down I guess. They cant show Brunnhilde and Siegfried reunited in love because it doesnt fit the concept. They cant show a mortal ascend to leadership because it doesnt fit the concept either.
Good point. I saw this on Dutch tv around 1984. It blew me away. I suppose it was a bad trade - off. The group move to fill the scene, some stand up. Then everyone turns to face the audiance. Then nothing happens. I see it as a victory followed by standing and proudly asserting it. *That* blows me away. But there you are right. The mortals cannot really ascend. So maybe that is the trade off. When I saw it in 84 that was optimistic and sufficient. But now I wonder what the reviews say about that. Your point is well taken, I know an expert I can ask.
Anybody in the house (Met) when Valhalla's central support beam came crashing down on Hilddegaard's head ?? Steve Brown, Stage Manager, are you listening ? WERE you listening ? Cane.
@angryjalapeno; I just saw the 1990 Met/Levine Ring on DVD which has mythical costumes/setting that give the full symbolic meaning. From the myth we know the gods are the upper class (having religious power) and the dwarves/giants are a lower class. We know Siegfried is the heroic/Noble Savage who is corrupted by civilization. And when the costumes/setting are mythical, the magic Ring/Helm/Dragon also works. But this modern costume 1976 Bayreuth production doesn't make sense imo.
@deusirae76 Hi, I am not against tasteful, dramatically relevant up renditions of the Ring--I trust that the one you went to was on that level? No Wotan as a fat cat industrialist or Brunnhilde as a street walker???
I totally agree with you. Behrens should have never touched Wagner (I haven't heard Voigt live). I even would say that Jones had much richer voice, specially in her medium and low registers, than Nilsson. I'll have to listen Anne Evans
It's a fantasy. A legend. Let's keep it that way. Wagner wrote both the music and the libretto, as well as very specific stage directions. Why not honor his vision? It was, by the way, my understanding that Chereau never heard the Ring prior to being engaged to direct it. It shows. But, we can separate the singing from the production.
@SilentShooter53 Please, take that stuff somewhere else. Maybe you and he could get together and make a Ring Cycle with Drew Barrymore and Brad Pitt, with the vocals from American Idol winners.
The Death of Wall Street and the Rise of Main Street - Boulez and Chireau (and G.B. Shaw)- were so right! No one seeing this in New York would worry about the minor details it predicted the future we live through today!
this production was the seed that germinated all the weird, strange, ghastly industrialist Rings that are inflicted on audiences--40 demented yrs. traditional productions (ie Schenk, or even Wieland Wagner) that honor the mythic story line are now considered 'old fashioned' and not 'relavant' by a few intelligentsia--its the volk who want to see the gods and goddesses as Wagner envisioned in his gestamstswork! stage directors are now running the Ring show now--they are calling the tune to the watchers misfortune (thank goodness conductors/singers still hold onto the glorious music).
The next Bayreuth Ring was a traditional one, directed by Peter Hall. Solti was the conductor. That was followed by the Kupfer Ring of the early 90s, which certainly wasn't traditional !
Dame Gwyneth is my absolute favorite. Her voice has plenty of steel but also so much warmth. I never tire of listening to her.
This ending... it goes straight into my bones! So beautiful afer all that dark and heavy music!
Despite any adverse criticism, I adore Dame Gwyneth's voice and her interpretations. Here, she manages to combine a voice of Wagnerian dimensions with a physical vulnerability which, in my opinion, has yet to be beaten after almost 33 years.
INCREDIBLE!! What a VOICE!! What a super human instrument!! Brava!!
I've listened to a lot of Immolation scenes and despite her wobble, I keep returning to Jones & this Boulez/Chereau production. She's the ONLY one I've heard so far who cuts over the orchestra in ALL the parts of her voice. I think the flaws actually make for an intense performance. IMO, she has just the right combination of "ping" and warmth, & she moves! Many of the current Brunnhildes, while possessing lovely voices, are too "fluffy" sounding. She IS Wotan's daughter, after all..
I had the honor of experiencing Gwyneth Jones at a 1985 Production of the Ring and the San Francisco Opera. What a performance!
Gwyneth Jones is the greatest voice ever. Other sopranos said at the time that it was not possible to sing like that, that she was a monster. Praise Welsh monsters!
Thanks for posting this. The music from the finale of the Ring Cycle has been with me since I was a child--many years before I even heard it, if you can believe that, so it means a lot to me to be able to see a theatrical depiction of it and to hear the spine-tingling strains of the Valhalla theme. Once again, thanks.
God Bless Astrid and Birgit. There IS a Valahalla in the afterlife, and Wagner himself conducts. These video excerpts are highly and intensely addictive. Starting at 6:51, I want to cross over. And the modulation at the end from minor to major slays me.
And also bless Kirsten, Helen, and Martha.
I'm watching it again, again, and again...
I was a student and lucky enough to see the two last cycles 1980 (thank God and Erna Pitz) including meetings with Patrice Chéreau and Pierre Boulez. It changed my artistic life. This Ring is marvellous, never using too much the incredible richness of the driector's theatrical invention. Chéreau was the most superb stage director, magic was his way to move actors and unbeatable the sense for colours and light. Telling this complex story in such a straight, but subtle way makes him unique. R.I.P.
The Redemption by Love theme in the coda is one of Wagner's most beautiful creations.
A magnificent production and a lasting tribute to the visionary director. Vale.
what a glorious sound! i know there are those that harp on the "screeching" and inconsistencies that may or may not be present in her singing at times, but the voice here was awesome and awe-inspiring. Brava!...
¡¡¡Magnifica Interpretacion!!!; Jones en un gran momento, de su extensa carrera,
dando lo mejor de su veracidad interpretativa, tanto en lo vocal, como en lo inter-
pretativo.
Check out the videos of Jones singing the Immolation at the Last Night of the Proms. Filmed around 1990 and absolutely stunning. I love this woman.
Patrice Chéreau's 1976 staging of the "Ring" is still the most insightful interpretation of Wagner's magnum opus. R.I.P.
At the age around 30 I went enough lucky to be invited Two time for the full _BOULEZ/Chereau RING...What a Trip!...;)
Musically Nilsson can't be touched. But Jones is arguably the best theatrical Brunnhilde (for singing and acting) and this entire Ring is one of the greatest staging ever. Watch it all the way through and be convinced.
After Nilsson, this is really the most solid performance I've heard in a while.
This lady does no wrong in my eyes. I also love her as Turandot.
Simply amazing!
There's a recording of her 1976 Brunnhilde in Bayreuth. The voice sounds more fresh and like her beautiful mid 1960s voice.
Rattus Yu That’s true, but I admire her so much anyway. She was always vocally better-behaved in Italian roles, where she didn’t push her voice so hard. But her Wagner and Strauss roles are brilliant nonetheless.
This is the most real Gotterdammerung. I really love this production! I am sure Wagner would like it too! DIESE MUSIK IST EWIG UND HEILIG!
you are so right.... i love it so much.... this music is really holy ......
Yes, it really is. Wagner is the most holy composer. Always when I listen to his music I feel as reborn, especially after Goetterdammerung! This is why I love Wagner so much. If everybody listened to Wagner's music, our World would be better! (Oh, if people just knew that...)Thank You for Your comment!
GUAAAAAUU es la primera vez que escucho un aria de wagner, es increiblemente dificil, el volumen, la potencia que hay que sostener, en un registro relativamente incomodo para cantar. IMPRESIONANTE. y la orquesta suena impresionante. sin palabras
I watched this production of The Ring from beginning to end 30-odd years ago, and was totally convinced by it.
Truly glorious music -- and what a performance! But I doubt if the end of our world will be as beautiful and hopeful.
Jones is one of the quintessential Brunnhildes ever!!! She had a voice that could KILL a bowl of goldfish, accorind to Anna Russell!!! Amazing!
Understanding of drama becomes emotion. Free of any moral or ethical judgement. Thank You Wagner for such wonderful way to transmit the eternal message.
@rumpwrestler I totally agree with you. There are/have been other great Wagnerians but, for me, there hasn't been anyone who has quite managed to combine the requisites to be an outstanding Wagnerian; vocal prowess, stamina and 1st rate characterisations. She always seems so believable on stage; how does she manage to get underneath the skin of every character and make us believe that she is actually Brunhilde/Sieglinde/Kundry/Senta, etc.? Truly amazing and one of the greatest performers.
Sitting through Castorf's Ring at Bayreuth this week, I was _longing_ for something as evocative as this, but was given nothing that could compare.
Chéreau's production may have upset the audiences of the 70s, with its semi-disposing of the traditional mythical context, but it still did the music justice and gave the drama some force! I have seen nothing as beautiful this week as the white figure of Gwyneth Jones on a backdrop of fire and darkness.
her voice sends chills up my spine in a good way :)
"Don't do it Brunnhilde!-Ah man she does that EVERY time"...But seriously WOW! shivers and tears as always. I am new to Gweyneth Jones but after this methinks I am her fan. Now all I need is the box set of DVDs!
In terms of dramatic impact, this is far and away the greatest account of the Immolation ever recorded. Nilsson and Flagstad were certainly more precise, but Jones' fiery commitment is astonishing. I'll take an imperfectly pitched note or two any day...
I saw her sing this at the Met in rehearsals. They did the complete Götterdämmerung. I was thrilled. She came down to talk with a friend of mine. THEN!!! she had to rehearsal ALL of the music with the "other" tenor for that run. She was AMAZING!!!! And so nice as can be. She sounded equally engaged the second time around.
Non era facile seguire e capire Boulez...Dame Jones l'ha capito subito...ed e' scaturita la piu' grande e moderna Brunhilde dei giorni nostri..
Class - pure class.
It is by far the best production and makes sense as 30 years of hyperpole of Wall Street burns before our eyes and mainstreet is left to fend for itself
The way the cast at the very end turns around and faces the audience in silence is a master stroke of the highest order. The gods overreached, and self-destructed on jealousy and ambition. Responsibility for our species, the Earth, and perhaps for the entire universe if Frank Tipler is on to something, is now ours -- we being the spectators to the Ring, the greatest of all staged debacles.
９：３８からの約２０秒にわたる大衆の沈黙がすごい説得力がある！！
普通ならすぐに幕だけど、「退位した神々」と「世界を引き継いだ人間」の結界のような気がします。
デイム・グゥィネス・ジョーンズの乙女から勇者への変貌振りはタンホイザーのダブルキャストを彷彿とさせる名演ですね。
platero55: doesn't it all just start again? Isn't that the point of a cycle? doomed to repeat itself over and over through eternity, the ends and the beginings puncuated by an apocolypse, a "kalpa" in Sanscrit, an ending of one cycle and begining of the next.
As for this being "one of the most important scenes to the entire history of operatic music", I have read of many important musicians and opera critics who see Gotterdammerung as failingly overwrought, but I love it.
no one beats nilsson in my mind, but gwyneth jones...it's great how she really does sound hysterical here.
Like a clear minority of the commentators here, I love Patrice Chéreau’s staging. I’ll admit two things immediately: (1) the revolutionary elements of the production (pun intended) would have much less impact if you didn’t know the traditional setting, and in that sense the latter is fundamental; and (2) the 1976 Chéreau version probably works better on film than it did on stage. (The camera shots scanning over the crowds during the funeral music and finale wouldn’t be seen by a live audience, unless you used video screens along with the live singers-and that really is a gross thought.)
BUT given those caveats, look at the production as a whole. Chéreau has a complete vision of the meaning of the Ring; it’s internally coherent and externally relatable to Wagner’s own vision and to the outer world (although of course it disagrees with much of Wagner’s Weltanschauung, and a damned good thing too); practically every detail of staging and symbolism is meaningful; and it speaks to us TODAY (or at least attempts to) instead of genuflecting to a supposedly immortal and unquestionable past.
There will always be a place for the traditionally staged Ring. But some artists won’t be content with reflecting Wagner’s creative genius-they’ll want to co-create, to imagine anew, to take chances. And every once in a while, an interpretive work of genius will be superimposed over Wagner’s-not taking its place, but extending it into new realms of thought and emotion. That’s the target Chéreau shot for. It takes not only creativity, but guts. If it’s a failure, it’s an honorable failure. But if it succeeds, it’s a Ring for the ages.
the best production of 'der ring' ...directed of course by Patrice Chereau
she is fearless! What a performer.
I viewed this particular production of the Ring cycle last week and of the four parts, I enjoyed the Walkure best of all.
Can you imagine what the Ring would look like if the director Peter Jackson were to film this?
@Chrysothemis; You liking this production is fine. I'm not trying to change anyone's POV about how this should be staged. I'm just expressing my opinion of what I like.
When I want to see a traditional Ring on DVD, I'll watch the Met version. If I want to see a production live, I'll go to Seattle.
It's just a matter of taste. And not every opera enthusiast is the same. I wish you well and have fun enjoying modern productions of Wagner's Ring. ;-)
Gwyneth rules!
Excellent performance. Thanks. Dorothea:)
Das ist die größte Opernszene aller Zeiten !!!
@deusirae76 Although, she did not sing Isolde (in its' entirity on stage) or continue with Brunhilde, Leonie Rysanek was another excellent Wagnerian, who shared many roles with Jones and Nilsson. Many Sieglindes have tried but I cannot look past Rysanek's interpretation here. I think of all three singers, Rysanek had the most thrilling upper register - those E flats/screams as Sieglinde or the end of Der Fliegende Hollander? Excellent stuff.
wasn't she something? wowee fantastico!
Very nice.
So proud she is form Wales. What a voice!
I think this is one of the best Ring's ever made! The Met's is very overrated
Right! She IS amazing singing! Her voice and its power is brilliant! BUT her pronounciation of German....hmm....i would say....it could be much better:P
But she is great!
Fantasy and legend - exactly, beautifully expressed. but that does not place a limit on place or time. . Besides Wagner himself stated "Kinder schafft Neues" when referring to stage interpretations of his works. I think he would have loved this poetic, sincere and extremely moving production. Apart from Gwyneth just watch Altmeyer and Hoffmann as the most sensual and credible Welsung couple. I have never experienced such a convincing couple in Bayreuth.
Come si fa a non commuoversi ascoltando questa musica?
CHI L'HA VISTO DA VIVO...SI COMMUOVE ANCORA.
It's so difficult to find someone to do this role complete justice. Nilsson was probably as close to perfection as we've had, but I've only heard her on the Solti recordings so who knows how effective an actress she was as Brunnhilde. Behrens was such a brave performer (I loved her Met "Elektra" although that part to stretched her to the max.) Voigt (fantastic in that same "Elektra") doesn't have the powerful voice she once had, which sadly diminishes her Brunnhilde. But you have to love her
@deusirae76 This is now into difficult ground for me as I greatly admire both of these Wagnerians for different reasons; I have to reiterate that this is purely a personal opinion. Birgit Nilsson was one of the most thrilling and exciting singers - her Isoldes from Bayreuth are just out of this world - but, for me, she lacked Jones' warmth and compassion. Whereas, Jones captured the character's soul but did not always have the vocal security of Nilsson at her prime. Both excellent artists.
@bb1111116
The way I see it, there are two ways of staging the Ring: you either do a literal staging as specified in the score, or you come up with your own, based on your interpretation of the work.
The first will be generalized, allowing the audience to make up their own minds. The second, at its best, will be personal, showing the audience yet another relevant facet of a work they thought they knew inside out.
This, in my mind, is the textbook ideal example of the second approach.
io adoro dame Gwyneth!!!!!!!!!!!!!!!!
RIP master Chéreau...
Really? I think the Immolation scene will be what gives significance and glory to the end of the world. What was meaningless has been made glorious!
There is no wobble in her voice in this performance. I'm not saying that there aren't times where one is present but it seems that some people suffer from the power of suggestion: Someone mentioned/suggested a wobble in Jones' voice and now it's SUPPOSED to automatically be there everytime she performs.
@deusirae76 That is good!! Still some taste left in this world, wonder of wonders!!
unbelievable
@juanmaplante, casi siempre es impresionante la orquesta ( y añádele la acústica ), es como los Berliners ( me refiero a los philarmonikers ), por supuesto
I just always get from her "Its all about being loud on high notes" but sometimes I'd prefer more line..yes even in Wagner. It just sounds to me like she has an incredible instrument that she never quite learned how to control completely.
RIP Patrice Chéreau
@Chrysothemis Allegory needs to fit. The opera is based on a 1000 year old mythology which has magical objects and beings. It is that magic with its symbolism which allows the story to work.
The last scene in this production shows a 19th century street where ~ 50 bystanders passively watch a mad woman who is committing suicide. The behavior of this 19th century crowd does not make sense.
All the clumsy use of allegory does is mask the more accurate meanings of the opera.
The rest of the cycle was indeed filmed in 1980, but I believe "Goetterdaemmerung" was filmed in 1979.
un eroe portato via come un sacco di patate!
un pò di rispetto diamine?!!!
cherno billy
@bb1111116 I agree with you. The only reason I watch this video is because of Gwyneth Jones (hair style, dress, hand gestures, and singing; she shines in this).
Nothing will beat Marjorie Lawrence' performance. She galloped into that flame astride a real, live horse!
What happened to Alberich anyway? I was left feeling confused as to how the dwarf could be prevented from simply stealing the ring again. Can anyone explain this?
That's a curious idea of French towns (I wonder if you've seen one like that in France) as well as of things French supposedly love...
@IrishClaudius As conclusion: this is not to be bought for 100€. Right?
2:09
I love how the dramatic music is played and the theme changes 3 times (Rhein maiden theme, Valhalla theme, Brunnhilde/Siegfried love theme) while a bunch of people do nothing but stand around. NOT.
Not really. They depict the new age. In this version that is the victory of the working class.
@@georgeberger8974 My point is nothing happens. The working class was here before the immolation and after the immolation. This is where the concept of this staging breaks down I guess. They cant show Brunnhilde and Siegfried reunited in love because it doesnt fit the concept. They cant show a mortal ascend to leadership because it doesnt fit the concept either.
Good point. I saw this on Dutch tv around 1984. It blew me away. I suppose it was a bad trade - off. The group move to fill the scene, some stand up. Then everyone turns to face the audiance. Then nothing happens. I see it as a victory followed by standing and proudly asserting it. *That* blows me away. But there you are right. The mortals cannot really ascend. So maybe that is the trade off. When I saw it in 84 that was optimistic and sufficient. But now I wonder what the reviews say about that. Your point is well taken, I know an expert I can ask.
Anybody in the house (Met) when Valhalla's central support beam came crashing down on Hilddegaard's head ?? Steve Brown, Stage Manager, are you listening ? WERE you listening ? Cane.
I am not sure if I would like to see it ;-)
@rexeterna You asked where Grane was. He ran away when he began to realise what this crazy woman was going to do. Horses aren't stupid.
Forgive my confusion, but in which period of time would you want to see the Valhalla Gods and their Dragons, Valkyries etc then?
where is grane??
The singing and orchestral playing here is the best I know. But gods in business suits just doesn't cut it.
@angryjalapeno; I just saw the 1990 Met/Levine Ring on DVD which has mythical costumes/setting that give the full symbolic meaning. From the myth we know the gods are the upper class (having religious power) and the dwarves/giants are a lower class. We know Siegfried is the heroic/Noble Savage who is corrupted by civilization. And when the costumes/setting are mythical, the magic Ring/Helm/Dragon also works. But this modern costume 1976 Bayreuth production doesn't make sense imo.
@deusirae76 Hi, I am not against tasteful, dramatically relevant up renditions of the Ring--I trust that the one you went to was on that level? No Wotan as a fat cat industrialist or Brunnhilde as a street walker???
...they fight in this world as their battleground.
❤❤❤
I totally agree with you. Behrens should have never touched Wagner (I haven't heard Voigt live). I even would say that Jones had much richer voice, specially in her medium and low registers, than Nilsson. I'll have to listen Anne Evans
It's a fantasy. A legend. Let's keep it that way. Wagner wrote both the music and the libretto, as well as very specific stage directions. Why not honor his vision? It was, by the way, my understanding that Chereau never heard the Ring prior to being engaged to direct it. It shows. But, we can separate the singing from the production.
@SilentShooter53 Please, take that stuff somewhere else. Maybe you and he could get together and make a Ring Cycle with Drew Barrymore and Brad Pitt, with the vocals from American Idol winners.
In Hollywood's comic book version, Sinestro would fight with the Rhine Maidens for possession of the Ring.
@Trisolde I'd go with that too...
Music is the star... nothing else.......
The Death of Wall Street and the Rise of Main Street - Boulez and Chireau (and G.B. Shaw)- were so right!
No one seeing this in New York would worry about the minor details it predicted the future we live through today!
this production was the seed that germinated all the weird, strange, ghastly industrialist Rings that are inflicted on audiences--40 demented yrs. traditional productions (ie Schenk, or even Wieland Wagner) that honor the mythic story line are now considered 'old fashioned' and not 'relavant' by a few intelligentsia--its the volk who want to see the gods and goddesses as Wagner envisioned in his gestamstswork! stage directors are now running the Ring show now--they are calling the tune to the watchers misfortune (thank goodness conductors/singers still hold onto the glorious music).
+windstorm1000 I forgot to add the word 'wretched' to describe these euro trash productions.
are there any stage directors who aim for a more traditional production? or is that seen as too "constricting" or some bullshit
The next Bayreuth Ring was a traditional one, directed by Peter Hall. Solti was the conductor. That was followed by the Kupfer Ring of the early 90s, which certainly wasn't traditional !
listen and learn james levine
I might sound like im estupid but can someone tell me what language is this