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The Copenhagen Ring: Det Kongelige Teater (Schonwandt) [DVD] [2008]

 Exempt   DVD
4.3 out of 5 stars  See all reviews (7 customer reviews)
Price: £52.52 & FREE Delivery in the UK. Details
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Frequently Bought Together

The Copenhagen Ring: Det Kongelige Teater (Schonwandt) [DVD] [2008] + Wagner - Der Ring des Nibelungen [DVD] [2009] [2011] [NTSC]
Price For Both: £97.28

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Product details

  • Format: AC-3, Box set, Classical, Colour, Dolby, DTS Surround Sound, DVD-Video, PAL, Subtitled, Widescreen
  • Language: German
  • Subtitles: Chinese, English, French, German, Spanish
  • Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.)
  • Aspect Ratio: 16:9 - 1.78:1
  • Number of discs: 7
  • Classification: Exempt
  • Studio: Universal Classics & Jazz
  • DVD Release Date: 14 July 2008
  • Run Time: 920.00 minutes
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (7 customer reviews)
  • ASIN: B0019LZ19O
  • Amazon Bestsellers Rank: 71,899 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)


Product Description

Richard Wagner's entire Ring Cycle performed by the Royal Danish Opera and conducted by Michael Schonwandt. Includes: 'Das Rheingold', 'Die Walkure', 'Siegfried' and 'Gotterdammerung'.

Product Description

Copenhagen Ring (7 Dvd)

Customer Reviews

4.3 out of 5 stars
4.3 out of 5 stars
Most Helpful Customer Reviews
20 of 21 people found the following review helpful
Verified Purchase
I think that the Danish team has surpassed itself to produce this coherent, exciting and genuinely entertaining Ring..

The acting is excellent and the cameras shots and angles add to the feeling of actually participating to the story. It is clear that no efforts and no funds were spared in producing one of the best, if not the very best Ring on DVDs. I have them all and I can tell you that you will not be disappointed with the sets, the acting nor, most importantly, with the singing on this set !! It is a wonder that they managed to cast such good singers which all look their parts so well. Hagen in particular looks positively frightening!!

The production is full of new ideas (to me anyway) and they are presented in such a natural way that it seems Wagner always intended things to happen that way. What I appreciate most is the lack of unnecessary intellectualism in the production. Everything seems natural and really wants to tell a story, without feeling the need for obscure symbolism. OK, it is a feminist Ring but that works really well in my opinion, plus it is not a particularly revolutionary view of the world :J

I won't enter into details of the scenes etc in order not to spoil the effects or the impact of the images which are at times breathtaking during the four operas.

The orchestral sound is superbly recorded throughout. The voices, at times, become a little weak and somewhat metallic in quality, like in the first scene of Siegfried on some of the floors in Loge's house or during the scenes in the Hall of the Gibichung. It seems that the microphones were not ideally placed during these scenes. Besides this little drawback, the performances are of extremely high calibre.

You will not regret this Ring and will want to play it again soon after watching it. I know I do often...
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31 of 34 people found the following review helpful
By Amazon Customer TOP 1000 REVIEWER
Wagner - The Ring [2006]

Producer Kasper Bech Holten had two key objectives for his Ring cycle, first to present the drama from the feminine perspective of Brunnhilde, not in an aggressive feminist way, and the result is extraordinary.

Once the female characters are given their correct weight in the drama (I cannot personally recall a Ring so far that has) it develops a new depth and dimension as the women become fully rounded characters and not the usual two dimensional offerings. The great winners are Fricka (a magnificent performance by Randi Stene an incredibly elegant singer) and Gutrune played as something of a sex kitten by Yive Kilberg.

Secondly Holten sets each opera in a different decade of the twentieth century, apart from allowing diversity of costumes and sets there seems little gained except in Gotterdammerung set in 1998 where there are a few significant plot changes (these occur within the existing music) and Hagen is marvellously reinvented as an ominous leader of a Balkans style militia complete with inventive silent plot additions and changes to the final outcome.

The Brunnhilde of the rapidly rising soprano Irene Theorin is a vocal triumph, but her very florid features inhibit her facial expressions which is unfortunately exposed in this superbly acted Ring.

Stig Andersen plays both Siegmund and Siegfried. In Walkurie Andersen is partnered by the excellent Sieglinde of Gitta-Maria Sjoberg, the chemistry and singing is excellent, although the overall effect is a little subdued for the intensity of their physical attraction.
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22 of 25 people found the following review helpful
4.0 out of 5 stars ... and the occasional "spasm of cramp". 14 July 2009
A Dane myself one could say that I am almost contractually obligated to love this Ring, but though I can't for a moment deny that this production has been a cultural exertion of a magnitude so far unheard of in this small country - and one crowned with considerable success - I still have serious reservations about a great many things when it comes to its conceptual scope.

Wagner's "Der Ring des Nibelungen" is without a doubt the most spectacular and demanding, longest and most complex work ever written for the stage. In fact, when it was first performed in Bayreuth in 1876, the composer was indeed the first to remark that he doubted anybody would ever be able to stage it in a fashion that would render it justice the way it was originally conceived. Since that time a good many have tried ... and some rather more successfully than others. The first production I took in was the so called "Centenary Ring" staged in Bayreuth in 1976 by the French film director Patrice Chéreau, and as such his version, with its tense drama, brutality, and naturalistic depiction of violence, will always be something of a reference to me. Unfamiliar as I then was with the traditional ways of staging this work, I found the use of costumes and set pieces from the age of industrialisation during the last half of the nineteenth century quite fitting (after all, that is when the operas were composed), and the rantings and howls of "sacrilege" trumpeted by the traditional Wagner fans left me utterly unmoved. As such I should feel great sympathy for Kasper Bech Holten, the producer of this Copenhagen version, who in conversation with our Queen (second disc of "Die Walküre") claims intending his staging for those whose minds are "not tied by traditional views of the operas".
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