Search - Richard Wagner, Daniel Barenboim, Plácido Domingo :: Wagner: Die Walküre, Act 1 / Domingo, Polaski, Tomlinson; Barenboim

Promises kept

Grady Harp | Los Angeles, CA United States | 07/16/2005

(5 out of 5 stars)

"The only negative comment on this ravishingly beautiful recording is that it is not the complete 'Die Walküre': with an Act 1 of this caliber one longs for the entire opera as realized by conductor Daniel Barenboim at the helm in the Staatsoper in Berlin. The Staatkapelle plays well for him and the cast sings with gorgeous vibrancy and freshness and credible acting.



Recorded live in 1993 this served as an early sample of how Placido Domingo could and would make a fine Heldentenor. His Siegmund is young sounding, resonant, ringing, and melting in his intelligent use of his wondrous tenor voice. His Sieglinde is the superb American Wagnerian soprano Deborah Polaski at the peak of her powers and her voice is rich and comfortable throughout the range of this role. John Tomlinson sings Hunding well but one longs for a more malevolent sound.



This is the kind of recording to give to friends who need an introduction to the magical mysteries of Wagner's 'Ring': this act has more familiar and glorious melodies than practically any other of the Ring, and to the novice this is a short but exquisitely recorded aperitif. The news that Domingo's full recording of 'Tristan und Isolde' (with Nina Stimme as Isolde) is due out this fall is even more of a reason to buy this recording while you can. He has kept his promise that he would sing the big Wagnerian roles before retiring (he also sings 'Parsifal' in the next LA Opera Season!) Highly Recommended. Grady Harp, July 05



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Probably as good as we'll get - get it for Barenboim

Eric G. | Laval, Québec Canada | 03/11/2003

(4 out of 5 stars)

"This recording is a good presentation of what Wagnerians can expect as the best these days: it contains some truly extraordinary jewels, but cannot compare to the "classics", as far as the singers are concerned. Of course, Domingo himself is the big debate of the recording. He sings very well throughout (he never yells nor barks), and brings a lot of emotion and nobility to the part. In the first scene he is not beaten down nor suffering, but dignified in his resignation, and later becomes a warm Siegmund with a lot of heart, always at his best in the more lyrical moments (the Winterstürme in particular). However, he is not an example of earth-shattering heroism. Further, I have a hard time with his German diction. I can stand a singer with an accent, but the problem here is one of articulation: sometimes a whole sentence will literally *drop* out of his mouth as an undifferentiated string of sounds. Those of us who know the text (and care for it!) will be annoyed. Polaski is not bad, but far from great. The problem is that, while she packs a good punch in the parts that require a projection of quasi-insanity, she just has no clue of how to sound romantic: you wouldn't know that she loved Siegmund unless you were told. Plus she can be quite shrill, and her voice is not very pleasing to my ears, in addition to having an annoyingly tight vibrato.Tomlinson's voice is a bit light for the role, but it is also very beautiful. He expresses more anger and outrage than evil, and he is a bit lacking on the sinister side. Whether that is a good or a bad thing will depend on the listener's expectations. The balance is more in favour of the orchestra, and here this is an excellent thing, since Barenboim and the musicians of the Staatskapelle are the true stars. They produce a truly wonderful sound, all sections being in perfect balance. The brass in particular enjoys an exceptional clarity, and does not overpower the rest of the orchestra as is too common. Barenboim brings a lot of interesting details forward, making clear and distinct certain musical lines that are buried beyond recognition in other renditions.
The pacing is also close to perfection, bringing back memories of Walter and Furtwängler. The drama is not pushed forward, but left free to realise itself, effortlessly evolving out of its initial dramatic tension to its romantic and heroic resolution. With better singers, this could definately have been a candidate for top recording of the Act."