Wagner Die Walküre [Box set]

Sir Mark Elder developed as an opera conductor in London in the late 1970's and through the 1980's, particularly at ENO, where Reginald Goodall's presence was still very evident. Goodall `s various Wagner recordings (Tristan, Meistersinger, Parsifal and Ring) show his predilection for slow tempos, yet with deep understanding of the drama expressed through a great sense of line, and a detailed but organic approach..... often achieved, it is true, through many rehearsals.

I recall an Elder Flying Dutchman at ENO from the early 80's which, if fallible memory isn't playing tricks, exhibited generally faster tempi and a greater initial drive than we have here. Yet whilst some of that sheer pace may not be so present in his recent work (including the previously released Gotterdammerung) , there is no loss of impetus and direction. A mellowing of tempi, and yet a palpable sense of theatre, indicate adoption of at least some of his great predecessors characteristics.

What does this mean in practice? Well, Walkure opens with a storm - both meteorological and emotional. For those used to the powerful, thrusting approach of say Bohm, Solti (or Levine live) there may be disappointment here. Elder is more measured....yet the turmoil is still there. As Act 1 unfolds (coming in at around 71 mins) Elder is not averse to lingering here and there to emphasise the desolation of Siegmund's plight and his growing relationship with Sieglinde, revelling in the sheer beauty of the writing. Indeed I haven't appreciated this aspect of the score so clearly for a long time (and I own many Walkures!!)....yet....there is still the sense of line moving forward. The structure does not collapse and desiccate. The Halle of course fully support their director, and are more than up to the task, the string writing in particular recalling the halcyon days of Barbirolli's tenure - no praise can be higher.

All this would mean nothing if the singers were poor, which thankfully they are not. A Yorkshire based friend who attended one of the performances told me Egils Sillins was announced as struggling with a cold, but he sings well. No Hotter perhaps he nevertheless makes Wotan a sympathetic character; someone who has set the wheels in motion and is struggling to keep unfolding events on course.

His daughter Brunnhilde is generally decently sung by Susan Bullock; like many sopranos she "yelps" at the high notes in her opening encounter with Wotan, but settles later to contribute well to Act 3. The brother-sister-lovers, Siegmund and Sieglinde, are well taken by Stig Andersen (who has also frequently essayed Siegfried) and Yvonne Howard. She does particularly well I think, despite not having the strongest of voices, making her mark well. Clive Bayley sings a creditable Hunding and Susan Bickley does what she can with the unsympathetic role of Fricka.

Recording is generally fine, although I am not an unalloyed admirer of Bridgewater Hall, at least on record. There seems to be an unsympathetic resonant clouding in the mid and upper bass of a number of discs I have taken from there, on a variety of labels. I really must go there some-day and appreciate the acoustic properly.

And one other small gripe - no libretto in the booklet - just a cast list and synopsis. The text and translation (along with a few production photos) are placed on CD 5. Alas my pc isn't normally anywhere near the hi-fi, and I end up using the booklets from other recordings. That said, this increasingly common practice probably helps keep the price down, which means the set is available at the moment from a number of outlets at a very competitive £22 to £23.

All in all, a considerable achievement, and a worthy successor to Gotterdammerung. If I withhold the final accolade of stars it's only because it faces fierce competition in the catalogue and it's difficult to erase memories of the greats from the past. That said dear reader, Wagner did exhort us to go out and create anew......

I was there when this was performed, live at the Bridgewater Hall, in the Manchester International Festival. It was electrifying then, and I am excited to say that the recording has done that performance absolute justice. Indeed, it brings a different dimension because the performance was semi staged (in that the cast sang their parts to the audience and acted in interactions with each other to some extent, but as in a concert setting, the orchestra was behind them and often the main event in interludes, preludes etc) with very atmospheric lighting and surtitles projected on both sides of the stage. The recording's additional dimension is that the music leaps out from the speakers and into your mind's eye making Wagner's mythological world of the Valkyrie into something quite tangible. I had goose bumps from the start to the finish, while listening to the recording, especially ends of act 1 and 2. The rapturous applause at the end of each act and at the conclusion of the opera, says it all. People (including myself) were giving standing ovations all around and all levels of the wonderful concert hall, at the end of each of the 3 sections.

If you haven't got a recording of this opera, then start with this, you won't regret it.

This is not a studio recording, nor is it a live staged performance. It is a recording of the concerts given in Manchester's Bridgewater Hall last July. There are so many advantages that flow from this: there is more precision than you would normally get from a stage recording, yet there is still the electricity of a real occasion. And the concert set-up allows the engineers to achieve a near-perfect balance between forces.
Mark Elder is doing great things in Manchester. The Hallé has had some lean times in the years since the death of Barbirolli. Sir Mark's goals are long-term ones, yet rich musical rewards are already clearly to be heard. Expressive, beautiful and disciplined playing from every orchestral section, with all details inflected in a thoroughly stylish way.
The vocal soloists may not all be 'starry' names; but they each bring something special to their roles. Stig Anderson and Yvonne Howard have the youthful quality that is needed for the incestuous twins Siegmund and Sielglinde - supple, fresh voices. Clive Bayley's Hunding is not as heavy a voice as we're used to; yet he still manages to convey powerfully the thuggish menace of the warrior. The first Act thus works superbly, the contrasts between the tension of Hunding's scenes and the growing passion of those of the lovers captured thrillingly.
The Ride of the Valkyries, though it of course leads a popular life as a concert item, is not necessarily the bit you look forward to most if you're a Wagner lover. Yet here, I have to say "Wow and thrice Wow!!!". Elder brings out the colours and the momentum of the music superbly, without forcing the pace or the volume, and the team of female warrior-maidens make a stirring noise!
Susan Bullock is gradually forging a fine reputation in these big, physically demanding roles. It's not an outstandingly beautiful voice, yet she projects the crucial role of Brünnhilde with both power and expressive intelligence. If ever the Halle do manage to find the funds and the time to do a complete Ring cycle, she'll be high on the list for immolation (in a good way).
This opera lives or dies depending on the extended final scene between Wotan and Brunnhilde, father and daughter, culminating in Wotan's moving Farewell as he puts Brünnhilde into a slumber, and sets her on the mountain-top, surrounding it with a magic fire. The Wotan here, Latvian bass-baritone Egils Sillins, matches the rest of the cast in having a comparatively youthful voice. Yet it has a splendidly vibrant 'edge' to it, and he delivers his music with a fine sense of authority - and tenderness too when required. So the finale of the opera is both moving and impressive. This is a remarkable recording, lovingly and meticulously prepared and presented. The occasional minor mishaps or rough edges are amply compensated for by the sense of dedication and concentration. Roll on more Wagner from Elder and the Hallé