Latest Release
- 28 DEC 2023
- 33 Songs
- Wagner: Das Rheingold, WWV 86A · 1958
- Je n'aime pas le classique mais ça j'aime bien ! · 2008
- Mozart: Le nozze di Figaro (Highlights) · 1982
- Mozart: Così Fan Tutte · 1996
- Verdi: Don Carlo · 1966
- Eat, Pray, Love (Original Motion Picture Soundtrack) · 2003
- Wagner: L'Anneau du Niebelung - Les Grandes Scènes · 1990
- Wagner: Der Ring des Nibelungen (Excerpts) · 1983
- Je n'aime pas le classique mais ça j'aime bien ! · 2008
- Verdi: Don Carlo · 1966
Essential Albums
- Wagner’s Der Ring des Nibelungen revolutionised 19th-century opera: an epic four-opera cycle, that uses ancient stories to forge a shattering modern myth, set to music of unprecedented beauty, originality and power. Created over three decades between 1848 and 1876, it tells a tale of a world broken and plundered and a society ruled not by love but by gold, as once-mighty rulers struggle to hold back the tide of change. The characters are gods, humans and magical beings, and the setting is a vividly imagined world of ancient Germanic myth. But the emotions Wagner portrays are startlingly modern, and his all-embracing music asks as many questions as it answers. That was the challenge that the record producer John Culshaw (1924-1980) faced when, in 1958, he set out to make the first studio recording of The Ring. Before the invention of the long-playing record (LP), the very idea of recording the complete 16-hour drama was unthinkable. Even in the late 1950s, with the advent of stereo sound, many of Culshaw’s colleagues at the record label Decca were sceptical. In the event the project would take an entire decade before the full Ring cycle was released—for the first time ever—as a single set of LPs. In order to achieve his vision of recreating Wagner’s theatrical universe as closely as possible on disc, Culshaw had to overcome technical and artistic challenges on a scale never before seen in the recording studio. Wagner broke the rules, said Culshaw. “And when we set out on the recording of Rheingold, I fear that we too broke many of the rules which had prevailed in the world of professional recording.” He didn’t have much choice. Whether balancing Wagner’s colossal orchestra (including 18 anvils and six harps) or simulating the echo of a dragon’s cave, inventive and innovative solutions had to be found if Culshaw was to stand any chance of recreating Wagner’s sonic world in the acoustic of the Sofiensaal, the converted Viennese swimming bath that was used as a studio. By comparison, assembling a cast of the greatest Wagner performers of the period was relatively straightforward. Culshaw was able to draw on Decca’s whole roster of star singers, and the Vienna Philharmonic was conducted by the brilliant 46-year-old Hungarian Georg Solti, whose energy and commitment to the project matched Culshaw’s own. The result, when Der Ring des Nibelungen was finally released as a set in 1968, was overwhelming: the single most ambitious opera recording ever made, as immediate and as fresh as a live theatrical performance. “Without ever quite releasing what we were doing we made something which many critics hailed as a new conception of opera on records,” recalled Culshaw. More than 50 years on, it remains an unforgettable listening experience, and the benchmark against which all Wagner recordings—some would say all opera recordings—are measured.
Music Videos
Artist Playlists
- One of the great maestros of the 20th century, he found superstardom with the Decca Ring.
About Sir Georg Solti
Almost everything Solti touched crackled with energy, and his drive and determination sustained him through several difficult periods. Born in Budapest in 1912 to Hungarian Jewish parents, he worked as rehearsal pianist and assistant to several famous conductors, including Toscanini, whom he revered. Solti’s big break should have come in 1938, when he conducted The Marriage of Figaro in Budapest. But that very same evening, Hitler invaded Austria, and in response the Hungarian government introduced anti-Semitic laws. Solti fled to London; it was only when the war ended that his career began its steady upward climb. Though he was initially criticized for the ferocious intensity of his conducting, and for his sometimes harsh manner in rehearsal, his superb technical command and tightly focused dedication to the music won him increasing admiration, especially after he took up the musical directorship at London’s Covent Garden Opera in 1961 and the Chicago Symphony in 1969. He was knighted in 1971. In 1958 he began a monumental project to record the Wagner Ring cycle in stereo. Solti was doubtful about the project, until the first installment, Das Rheingold, shot up the best-seller charts, rivalling Elvis Presley. Solti’s complete Ring has been voted greatest recording ever made in the UK’s Gramophone magazine and BBC Music Magazine. Though his repertoire was broad, it was in opera where Solti made his greatest impression, stamping his personality on every facet. He died in Antibes, France, in 1997.
- HOMETOWN
- Budapest, Hungary
- BORN
- 1912
- GENRE
- Classical