CD-Charts Position 1

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Strauss, R.: Elektra

by: Birgit Nilsson Wiener Philharmoniker Georg Solti

Release Date March 19, 2007

CD-Charts Position 2
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Wagner: Der Ring des Nibelungen

from: Philips

Release Date August 02, 1994
This is, indeed, a great performance of the Ring, though to my mind not in the same class as Krauss or Furtwangler. In many ways it would be an ideal entry point for someone looking for a single recording of the cycle, but it is important to note that it is not perfect. Part of the delight of the Solti recording is the magnificent scale of the sound (this is a live recording, albeit from Bayreuth), which will draw new listeners in; more annoyingly this set does not have a libretto, which is crucial for people discovering the Ring. If you are new to the Ring, the Solti set is probably a better bet, or go for the wonderful Barenboim DVDs, where you can follow the action visually, and the text through subtitles.

CD-Charts Position 3
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Wagner: Der Ring des Nibelungen

from: Decca

Release Date October 06, 1997
Three stars only? For the Solti ring? Surely not? Well yes actually.

How to explain this? Solti's was the second set I brought - largely because it was so famous that I thought that I simply had to have it. The first set I acquired was a ludicrously cheap version of Furtwangler's set from Turin (with Martha Modl, Ludwig Suthaus, Ferdinand Franz et al). I really didn't know anything about the Ring at the time except a few bits that I'd heard over the years. Having it all meant that I could dip in and out and out and gradually, with the help of the ENO guides, I found my way round these astonishing works.

It's very difficult to be objective about Furtwangler. If I had to summarise what is great about him in the Ring it ... Read More:

CD-Charts Position 4
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Strauss, R: Salome

by: Birgit Nilsson Eberhard Wächter Gerhard Stolze Wiener Philharmoniker Georg Solti

Release Date May 15, 2006
No overture. Straight into the first scene. The Jews are rowdy in the back. John the Baptist is the cause of it. He is preaching from the cistern where he is kept a prisoner. It is forbidden to look at him or have any contact with him. But Salome comes and she wants to see him, speak to him. She goes down into the cistern and finally forces the soldiers to bring John out. The music replaces words. A volcanic eruption of dark and particularly strong sounds that are chaotic in their organization to lead to a cool moment of violins that evoke the sanctity of the man coming out of the cistern. And the horns introduce John's first prophecy of the coming of Jesus and of his public death. Then he accuses Salome's mother of having betrayed her Jewish blood by marrying the king. Salome is ... Read More:

CD-Charts Position 5
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Wagner: Tristan und Isolde

from: The Originals

Release Date September 22, 1997
I was lucky enough to be present at the last outing of this Wieland Wagner production with essentially the same cast - the curtain calls went on for more than 45 minutes!

Undoubtedly, this is a totally exceptional performance - one of those live performances that catches fire from the first enigmatic rise and fall to the famous 'Tristan' chord and never lets you go until long after the last note of the Liebestod has died away. Bohm (often accused of being kapellmeisterish at the time) is electric - the music ebbs and flows with the passion of the protagonists, at times whipped up to almost hysterical proportions (Tristan's Act 2 arrival and the height of his dementia in Act 3 for example), at others achingly lonely (Marke's monologue or the shepherd's piping come to mind). ... Read More:

CD-Charts Position 6
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Wagner: Die Walküre

by: Birgit Nilsson Jon Vickers Erich Leinsdorf

Release Date May 13, 2002
If Act One doesn't leave you punching the air you might as well look elsewhere for a complete Walkure. This one just doesn't do it. Not that there is is anything wrong with the singing; far from it. If you just drop in on any part of it everything is just fine but if you listen to the whole act as you're supposed to then you will be disappointed as I was more than once before I learned that it takes more than flawless singing and even a whole lot of individually flawless passages, to make a good performance of a Wagnerian chapter. Solti had the same difficulty with conceiving the shape of the whole Act.
The reason of course is very largely, and perhaps entirely, the whole business of studio recording which breaks things down into individual parts for convenience, perfecting each and ... Read More:

CD-Charts Position 7
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Wagner: Tristan und Isolde (highlights)

from: Classikon

Release Date May 05, 1995
I first heard this full version many years ago, and my feelings towards it are just as strong now as it was then. A very welcome addition to the CD catalogue. Those listeners who perhaps might not be too keen on buying full versions should try this for it contains some of the best examples in Opera anywhere. Sound is brilliant. Some Wagner fans may find Bohm's tempi a little too quick, but there is no denying that it does make the passion of the music flow, culminating in some wonderful climaxes. The singing of Nillson and Windgassen together is wonderful; although Windgassen's voice does sound a little tired in the last but one scene. Still, the atmosphere and the playing of the Bayreuth Orchestra cannot be faulted. My only quibble really is that the scene in Act 1 when both Tristan and Isolde drink ... Read More:

CD-Charts Position 8
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Wagner: Opera Arias & Duets

by: Birgit Nilsson & Hans Hotter

Release Date February 11, 2008
I first heard this full version many years ago, and my feelings towards it are just as strong now as it was then. A very welcome addition to the CD catalogue. Those listeners who perhaps might not be too keen on buying full versions should try this for it contains some of the best examples in Opera anywhere. Sound is brilliant. Some Wagner fans may find Bohm's tempi a little too quick, but there is no denying that it does make the passion of the music flow, culminating in some wonderful climaxes. The singing of Nillson and Windgassen together is wonderful; although Windgassen's voice does sound a little tired in the last but one scene. Still, the atmosphere and the playing of the Bayreuth Orchestra cannot be faulted. My only quibble really is that the scene in Act 1 when both Tristan and Isolde drink ... Read More:

CD-Charts Position 9
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R Strauss: Elektra

from: Decca

Release Date November 16, 1998
Ideally, I'd have given this recording 4.5 stars (the thing that bothers me is Marie Collier's howling and crying as Chrysothemis: much as it is indeed called-for in the score, it seems overdone...); since that's not available, let it have the full 5 as it otherwise deserves it. This is particularly so given its presenting the full uncut musical text of the opera (apparently all the other recordings, with the possible exception of the Sawallisch, have the same 6-7 cuts that are usually made with staged performances); in any case, the performances (particularly those of Solti and the Wiener Philharmoniker, as well as of Nilsson and Krause - what power!!!) make this recording an absolute must in any serious classical music collection - especially with any Straussians! People, do your best to get this recording ... Read More:

CD-Charts Position 10
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R Strauss: Die Frau ohne Schatten

from: Strauss Opera Edition

Release Date April 23, 1996
For someone like myself who has heard every note Nilsson sang on recordings, this CD of Die Frau is beyond description. Nilsson always posed a challenge to sound engineers. It was always difficult to hear her true beauty on recordings. When this CD came out, I was smilling when she began to sing. This is exactly how she sounded in San Francisco on September 30, 1980 when I heard her perform this role.
I had another opportunity to see and hear her. The place was Wilmington, Delaware. The date was April 13, 1988. She was at the Wilmington Opera House to conduct a master class. Many of her students were from the Academy of the Vocal Arts and The Curtis Institute in Philadelphia. In all honesty, I learned more about Nilsson on this day than I did In 1980.
At the end of the program, she invited ... Read More: