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Release Date October 01, 1996
Of all the complete Ring cycles I have heard, this is the one that has given me the clearest idea of the work's overall structure. Furtwängler's sense of rhythm and pacing is unerring in spite of the work's mammoth proportions; every note sounds purposeful and the interest never flags (as it inevitably does at some point or other with most other conductors, including Solti and Karajan). For all his impressive command of the music, Furtwängler is never tempted to pursue originality for its own sake; he accomplishes the miracle of making this ultra-sophisticated score sound completely natural and spontaneous, which listeners weary of radical re-readings such as Karajan's will be bound to appreciate. Unfortunately, the cast is rather ... Read More:
Release Date June 02, 2003
Of all the complete Ring cycles I have heard, this is the one that has given me the clearest idea of the work's overall structure. Furtwängler's sense of rhythm and pacing is unerring in spite of the work's mammoth proportions; every note sounds purposeful and the interest never flags (as it inevitably does at some point or other with most other conductors, including Solti and Karajan). For all his impressive command of the music, Furtwängler is never tempted to pursue originality for its own sake; he accomplishes the miracle of making this ultra-sophisticated score sound completely natural and spontaneous, which listeners weary of radical re-readings such as Karajan's will be bound to appreciate. Unfortunately, the cast is rather ... Read More:
Release Date May 14, 2001
Of all the complete Ring cycles I have heard, this is the one that has given me the clearest idea of the work's overall structure. Furtwängler's sense of rhythm and pacing is unerring in spite of the work's mammoth proportions; every note sounds purposeful and the interest never flags (as it inevitably does at some point or other with most other conductors, including Solti and Karajan). For all his impressive command of the music, Furtwängler is never tempted to pursue originality for its own sake; he accomplishes the miracle of making this ultra-sophisticated score sound completely natural and spontaneous, which listeners weary of radical re-readings such as Karajan's will be bound to appreciate. Unfortunately, the cast is rather ... Read More:
Release Date
Of all the complete Ring cycles I have heard, this is the one that has given me the clearest idea of the work's overall structure. Furtwängler's sense of rhythm and pacing is unerring in spite of the work's mammoth proportions; every note sounds purposeful and the interest never flags (as it inevitably does at some point or other with most other conductors, including Solti and Karajan). For all his impressive command of the music, Furtwängler is never tempted to pursue originality for its own sake; he accomplishes the miracle of making this ultra-sophisticated score sound completely natural and spontaneous, which listeners weary of radical re-readings such as Karajan's will be bound to appreciate. Unfortunately, the cast is rather ... Read More:
Release Date May 24, 1994
Of all the complete Ring cycles I have heard, this is the one that has given me the clearest idea of the work's overall structure. Furtwängler's sense of rhythm and pacing is unerring in spite of the work's mammoth proportions; every note sounds purposeful and the interest never flags (as it inevitably does at some point or other with most other conductors, including Solti and Karajan). For all his impressive command of the music, Furtwängler is never tempted to pursue originality for its own sake; he accomplishes the miracle of making this ultra-sophisticated score sound completely natural and spontaneous, which listeners weary of radical re-readings such as Karajan's will be bound to appreciate. Unfortunately, the cast is rather ... Read More:
Release Date March 01, 1996
Of all the complete Ring cycles I have heard, this is the one that has given me the clearest idea of the work's overall structure. Furtwängler's sense of rhythm and pacing is unerring in spite of the work's mammoth proportions; every note sounds purposeful and the interest never flags (as it inevitably does at some point or other with most other conductors, including Solti and Karajan). For all his impressive command of the music, Furtwängler is never tempted to pursue originality for its own sake; he accomplishes the miracle of making this ultra-sophisticated score sound completely natural and spontaneous, which listeners weary of radical re-readings such as Karajan's will be bound to appreciate. Unfortunately, the cast is rather ... Read More:
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