Rating : - "Furchtbar nun erfind ich des Fluches Kraft!"
There are over 20 complete recordings of Richard Wagner's "Der Ring Des Nibelungen". This, with James Levine and the Metropolitan Opera, is one of them.

This conductor has his own fair share of Herbert von Karajan's lyricism, Only, his lyricism is softer and much slower than Karajan's. Sometimes you'll be annoyed at his plodding tempi in parts such as "Wotan confronts Siegfried" or "Loge confronts Alberich", but you'll be amazed by the stunning splendor of "Annunciation of Death" and "Forest Murmurs". Be on the sharp lookout, also, for Levine's perfect "Erda's Warning".

The Metropolitan Opera Orchestra is the real star on this set. The woodwinds and brass have been refined and taken with great care for the score. The strings sound majestic and heavenly, though they sound a bit too tired to continue on in Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

For aside from the fantastic orchestra that this recording is famous for, this set could've improved with better singers. James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau and McIntyre pretty much throughout both Rings. His multi-dimensional performances are compelling in Walkure. "Wotan's Farewell" should not be missed.

Hildegard Behrens is just like Birgitt Nilsson and Regine Crespin. While she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch). The one problem I had with Behrens is her singing the low notes; she sounds too gruff and gagged.

Gary Lakes and Jessye Norman as Siegmund and Sieglinde don't seem to hit their marks in Walkure. Lakes does have that heroic quality to it, but he sounds tired when he's performing in Acts One and Two. Norman can truly sing, but she doesn't fit as Sieglinde: she doesn't sound young and innocent enough. I would've loved to hear her as Brunnhilde.

Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Rene Kollo or Siegfried Jerusalem when he recorded his studio Ring.

Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried could've improved with more distrustfulness towards Mime and the Wanderer.

Heinz Zednik is an excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Gregory Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

As for the rest of the cast, they're good in their own way. The Valkries have the same majestic force that's found in the Karajan recording. Siegfried Lorenz isn't a very good Donner, and his "Hammer Song" sounds forced. Birgitta Svenden is a fine Erda, and I love every minute of her singing. Christ Ludwig is the most believable Fricka around, but she does sound a bit past her prime here (her performance in Karl Bohm's live recording is much better). Matti Salminen is the one-and-only Hagen, his voice is has the perfect blackness that fits the character. The Three Norns somewhat fail in bringing the Gotterdammerung Prologue to life; Marek Janowski and Karajan have brilliant norns.

Overall, James Levine's slow tempi may be distracting at times, but they work well if you want to focus more on Wagner's music than on the drama itself.