Wagner: Der Ring des Nibelungen album review – Luisi has a keen sense of the operatic architecture

Concert performances of opera can provide ideal conditions for live recordings. This ambitious release of Wagner’s Ring Cycle on 13 CDs, captured in 2024 with the Dallas Symphony under music director Fabio Luisi, is a fine example.

The Italian maestro has a strong record, having stepped in at the Metropolitan Opera in 2011 when James Levine had to withdraw from Siegfried due to illness. With his clearheaded approach, a keen sense of Wagner’s operatic architecture, and a supple way with phrasing, he is perhaps the most compelling reason for acquiring this frequently impressive set.

The artwork for Wagner: Der Ring des Nibelungen.

Of course, any Ring lives or dies on its singers, and no cast will ever be perfect. As Wotan, Mark Delavan’s voice carries the right authority, his characterisation intensifying as the work unfolds. Daniel Johansson is a lyrical Siegfried, never straining, even if he occasionally sounds uninvolved. As Brünnhilde, Lise Lindstrom’s soprano comes under rather too much pressure, though she’s never less than committed to text and drama.

Among the rest, Sara Jakubiak stands out as a radiant Sieglinde, though a tired-sounding Christopher Ventris disappoints as Siegmund. Stephen Milling, Štefan Margita and Michael Laurenz sing and act their socks off as Hagen, Loge and Mime respectively, with Tómas Tómasson characterful but occasionally wobbly as Alberich.

If Deniz Uzun is rather soft-edged as Fricka and Roman Trekel overly gravelly as Gunther, Kathryn Henry offers a glorious Gutrune and Tamara Mumford an imposing Erda. Giants and minor deities are good; Rhinemaidens, Valkyries, and especially Norns excellent. Sound is admirable, if slightly more congested than the finest studio sets.

Listen on Apple Music (above) or Spotify