{"product_id":"furtwangler-wagner-ring-cycle-1-das-rheingold-1950-la-scala-paco089","title":"FURTWÄNGLER Wagner Ring Cycle: 1. Das Rheingold (1950, La Scala) - PACO089","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Ring Des Nibelungen: 1. Das Rheingold\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1950\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 30:07\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra e Coro del Teatro alla Scala di Milano\u003c\/span\u003e\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Furtwängler\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fNow that Andrew Rose of Pristine has gotten around to it, the result achieves a level that frankly I never thought possible578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eDifferent restoration engineers keep improving the Furtwängler\/Scala \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecycle,\nand now that Andrew Rose of Pristine has gotten around to it, the\nresult achieves a level that frankly I never thought possible. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs followers of conductor Wilhelm Furtwängler know, there are two complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecycle\nrecorded performances of his. One is from fully staged 1950\nperformances at La Scala in Milan, and the other is a broadcast unstaged\nset of performances, recorded one act at a time, for the Rome RAI in\n1953. I have reviewed one or the other of these three times in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n(20:2 for the Music \u0026amp; Arts release of the Scala performances, and\n33:1 for the Archipel improvement on that effort; 29:6 for the Gebhardt\nrelease of the RAI set). William Youngren also reviewed the EMI release\nof the RAI set in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e14:4. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor many years the Rome RAI set was\npreferable because of superior sound quality. It was, after all,\nproduced for radio broadcast. In addition, the performers were able to\nretain freshness throughout, since they were only performing one act on\nany given evening, and they did not have to trouble themselves with\nstage business. Some of us always had a sneaking suspicion that the\nScala performances were more satisfying, because they had that sizzle\nand specificity of inflection that comes from fully staged performances\nof music dramas, but the limited sonic reproduction made it hard to\nreally enjoy them. The first release of the Scala \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethat\nprovided real listening pleasure was the Archipel (a label with an\nuneven history, but one that did a fine job here). Now, however, things\nhave moved up yet another whole level. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAny of those earlier reviews, easily locatable on the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive, will give you the specifics of why I believe that anyone seriously interested in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Ring \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emust\nknow Furtwängler’s performances, and why I think that of the two the\nScala set is preferable. If there ever was any doubt of this, Pristine\nAudio’s transfer removes it. This is, in fact, a remarkably lifelike\nreproduction of a performance that when first heard decades ago on a\npoor LP transfer seemed like something one would never actually be able\nto take much pleasure in. By the time you read this, the entire \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecycle\nwill be available from Pristine, and it is urgently recommended even if\nyou own one of the earlier transfers. I have listened to it in both\nmonaural and the XR stereo versions (this release is in the latter)—both\nare satisfying. I slightly prefer the XR stereo—which is not at all\nlike the fake stereo of the 1970s, but simply a way of allowing the\nambience to feel more natural.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel \u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO089.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFurtwängler's 1950 Ring Cycle starts here - Part 1: Das Rheingold\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR remastering brings vivid depth and astonishing power to Wagner's epic operas\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eEver since I began working on Furtwängler's other \u003cem\u003eRing\u003c\/em\u003e\ncycle (RAI, 1953) I have received requests to follow it with this one,\nrecorded live at La Scala in Milan in 1950. Thus what seems almost to\nhave become something of an annual event begins again: Pristine's\nhistoric \u003cem\u003eRing\u003c\/em\u003e for 2013, another \"best ever\" contender that's\nsuffered from any number of dire-sounding releases in the past. With\nRichard Wagner's 200th birthday this year in mind, here's the start of\nthis 32-bit XR remastered Ring.\u003c\/p\u003e\u003cp class=\"body\"\u003eInitial soundings last year suggested that this\nrecording would respond well to the rigours of the various XR processes,\nas it has - indeed, better than I'd dared hope. Wagner really does need\na full, rich and all-enveloping sound, and at last we're able to hear\nit in this performance. It's not entirely uniform - there are a handful\nof short sections where the quality drops slightly - but overall this\noffers a pretty amazing improvement in audio quality. I've also excised a\nlot of bumps, coughs and other noises to help provide as involving a\nmusical experience, with as few distractions, as possible.\u003c\/p\u003e\u003cp class=\"body\"\u003eYour musical journey starts here...\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eWAGNER \u003c\/b\u003e- Das Rheingold WWV 86A\u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eWotan\u003c\/b\u003e Ferdinand Frantz\u003cbr\u003e \u003cb\u003eDonner\u003c\/b\u003e Angel Mattiello\u003cbr\u003e \u003cb\u003eFroh\u003c\/b\u003e Günther Treptow\u003cbr\u003e \u003cb\u003eLoge\u003c\/b\u003e Joachim Sattler\u003cbr\u003e \u003cb\u003eAlberich\u003c\/b\u003e Alois Pernerstorfer\u003cbr\u003e \u003cb\u003eMime\u003c\/b\u003e Peter Markwort\u003cbr\u003e \u003cb\u003eFasolt\u003c\/b\u003e Ludwig Weber\u003cbr\u003e \u003cb\u003eFafner\u003c\/b\u003e Albert Emmerich\u003cbr\u003e \u003cb\u003eFricka\u003c\/b\u003e Elisabeth Höngen\u003cbr\u003e \u003cb\u003eFreia\u003c\/b\u003e Walburga Wegner\u003cbr\u003e \u003cb\u003eErda\u003c\/b\u003e Margret Weth-Falke\u003cbr\u003e \u003cb\u003eWoglinde\u003c\/b\u003e Magda Gabory\u003cbr\u003e \u003cb\u003eWellgunde\u003c\/b\u003e Margherita Kenney\u003cbr\u003e \u003cb\u003eFloßhilde\u003c\/b\u003e Sieglinde Wagner\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eOrchestra e Coro del Teatro alla Scala di Milano \u003c\/b\u003e\u003cbr\u003e conductor \u003cb\u003e Wilhelm Furtwängler\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Live recording, March 4, 1950, Teatro alla Scala 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