I know this is one of the most popular classical music recordings of all time and many are excited about the new(est) release, but for me it's a snoozer!
Is it the recording or Wagner in general? I know that for many, Wagner can be a snoozer. I remember attending a live performance of Wagner's Parsifal about ten years ago and I don't know how I made it out of that theater alive! I thought I would die of boredom. Literally nothing (except loud singing) was happening for hours! For some reason that staged production failed to hold my interest.
Both. I prefer other Rings, but I'm not a fan of the Ring in general, except perhaps for Die Walkure. I do like some Wagner operas, particularly Flying Dutchman and Lohengrin. I used to like Parsifal but I haven't heard it in many years. In any case, I've switched almost entirely to symphonic fare nowadays. From here on, it's just Wagner bleeding chunks (and orchestral adaptations) for me. Love those chunks, though. I find Tristan und Isolde incredibly boring as a whole, but the Liebestod is one of the most gorgeous pieces of music ever.
I received this new SACD yesterday, and listened to it once. My initial thoughts are that it sounds good, but perhaps a bit bright. I read a comment from user @yasujiro stating that this new mastering has a 'modern' sound, which I agree with. It seems to favor detail and clarity, while my older 1984 CD release of the Solti Das Rheingold has to my ears more warmth and fullness to the sound. I like the sound of the old 80s discs, so I don't think I will be buying any of the new remasterings of the full operas. I was curious what others thought of this new remastering, so I found some comments on hraudio.net. They were generally not positive. The first comment from someone who claimed to have heard the SACD was 'compression and brightness are terrible... Just a wall of sound'. Another user compares this new SACD in detail to the Stereo Sound SACDs, and states the Stereo Sound discs sound more emotionally involving and less fatiguing. Also that the SS discs have more transparency, with more bloom on individual instruments. I am curious what others think of this new mastering of the Solti Ring. Again, I think it sounds good, but not great, and I don't feel like I know these recordings well enough to comment too much, and I want to listen again with fresh ears before making more judgement.
This album is also available in Atmos in Apple Music for others interested in giving it a listen. Some of the hraudio comments are from people who assume that because there is a Spotify version, all versions must be compressed....
Yes, I thought some of the comments on hraudio were a bit harsh. I do not notice any extreme compression on the SACD, which I am listening to again now.
1st Listen Wagner, the Golden Ring, Great Scenes from Der Ring des Nibelungen, Georg Solti and the Vienna Philharmonic, DECCA Hybrid-Stereo SACD: This is a very important SACD release. It's the first Decca SACD release in something like 17 years. The original analog tape recordings (which had been deemed unusable) were baked and repaired before being remastered in 24 bit/192 kHz high definition for release on SACD. The disc, which comes in a standard-sized cardboard digi-pack has a "Made in the Czech Republic" sticker emblazoned on it. I did not know that the Czech Republic had an SACD disc pressing plant. If this is a new facility, then it's cause for celebration, as many new (or planned) SACDs have been held up by the backlog created by the current lack of (many) SACD pressing facilities. This will be my first time listening to any version of Georg Solti's famous Vienna Philharmonic Decca recordings of Wagner's Ring cycle recorded between September 1958 and November 1965. Therefore, I won't be able to make comparisons to older versions but I hope to comment on the sound quality of the current release (without any prejudice). The first tenor vocal in the 1st track from Georg Solti and the Vienna Philharmonic's recording of the Entry of the Gods into Valhalla from Das Rheingold projects very forcefully into the room. The sound has a bright, clean, sonically arresting quality. Transients sound hair-raising! Now that I am over the initial shock of how modern this sounds, I have become aware that I don't hear any tape hiss (or maybe it just does not register since the music sounds so loud). The Vienna drum and brass choir sound arresting (and strongly projected). I like the way the recording captures the natural resonance and decay of the brass instruments. Now I hear the first entry of a female vocalist (she sounds like a mezzo). I like the way that the recording has captured the mellowness in her voice. The vocalists (I count at least six of seven of them now) sound very clear and each voice has a distinctive quality that allows me to identify individual performers. I like the female chorus (chorus of maidens) that I hear right now in the background of the foreground vocalists. The opening notes of the 4th track of this SACD, Georg Solti and the Vienna Philharmonic's recording of the Ride of the Valkyries from Die Walkure, sound startling. Once again, I cannot hear any tape hiss but I also don't hear the sonic drying and deadening that results from over-zealous noise reduction. The noise reduction that has been applied does not seem to have hurt the sound. I love the sound of all the female vocalists in the Ride of the Valkyries. The performers sound like they are in the room with me. The overall loudness level (which seems high) indicates to me that some dynamic range compression has been applied. I do not approve. I don't think classical recordings need dynamic range compression. I don't like the abrupt fade in this Ride of the Valkyrie sequence but maybe I should just accept it as this is a highlights disc. Furthermore maybe it's good sign that I actually wanted more! I like the way the male tenor vocalist who opens the performance of Wotan's Farewell and Magic Fire Music from Die Walkure, has been captured in the next sequence. He sounds like he is in the room with me. The orchestra sound quite stark...lacking a bit of warmth...a tiny bit more warmth I think would make this sequence sound more enjoyable. It's becoming more and more clear though (as I listen) why Solti's Ring recording is the most famous Ring recording ever committed to disc. He has the best cast ever assembled! I don't hear any weak links in the vocal performances. The hammer blows in track #7 from Wotan's Farewell and Magic Fire Music sound very realistic. It sounds like the sound of swords being beat out on an anvil. I also like the sound of the bells and other percussion instruments. Transients seem to have been captured in a very realistic way in this recording. The (male) vocals also sound realistic and strongly projected. I like the way that Solti and his Vienna Philharmonic players capture the melody in this sequence. The soaring orchestral lines remind me of Wagner's Tristan und Isolde. I hear more hammers clanking against anvils in the 8th track, the forging scene from Siegfried. Transients once again sound startling and realistic. I like the sound of the Vienna strings in the opening of Forest Murmurs and Siegfried's Horn Call. The string players sound quite realistic in this sequence. I also like the way the vocalists have been captured in this sequence. The horn calls sound wonderful too. The Vienna woodwinds have a reedy, fruity quality that also sounds true to live instruments. I like the way the recording engineers have captured the woodwind choir in this pastorale sequence. I am chuckling to myself now because I know the horn sequence here from a Bugs Bunny and Elmer Fudd cartoon! Wagner can be so stuffy and (overly) serious, so the Bugs Bunny association provides me with welcome comic relief! Once again, I hate the abrupt fade out and I want more! I love the way that Solti and his Vienna Philharmonic players capture the moodiness and gloom in the 13th track, Siegfried's Funeral March from Gotterdammerung. I love the reedy, fruity quality of the Vienna woodwinds in this sequence. I love the contribution of the harps. I love the long string lines. I love the way the strings have been captured in this (amazing) sequence. Once again the sequence fades out abruptly leaving me wanting more! Birgit Nilsson sounds amazing in the final sequence on this SACD, Brunnhilde's Immolation Scene from Gotterdammerung. Ms. Nilsson sounds like she is in the room with me! I love the contribution of the Vienna woodwinds. I love the way that the Vienna strings have been captured in this sequence. Once again however, I don't hear any tape hiss whatsoever. This highlights SACD, the Golden Ring, leaves me wanting more. I want to hear the full restorations. The performances sound earth-shattering! I want to hear these recordings now in their entirety. So, in that sense I think the highlights SACD and the present remastering have been a success. Yet, I believe that cognoscenti will be divided by this release. It does have a shocking, clean, ultra-modern quality that seems the sonic equivalent of the restoration of the Sistine Chapel. After the restoration, the bold and bright colors and shocking hues of the Sistine Chapel offended purists, who were used to the darker hues that resulted from centuries of soot and grime. I think the bold and bright sonic colors and shocking transients in this sonic restoration of Solti's Ring cycle may also offend many (and for the same reason). Yet, overall, I don't hear anything truly offensive. The recording does not sound bad. It does not hurt my ears. I don't find this (vivid) presentation offensive. I think it all holds together well. It's not ragged. It does not break up or overload. I don't hear any drop outs or sonic smudges. Furthermore, it's an engrossing listen and I want to hear more! So, I think this may really be aimed at those (like myself) who are new to these recordings. Think of this as a modern update of a classic.
1st Listen Mendelssohn Hebrides Overture & Symphony No. 3 "Scottish," Leonard Bernstein and the Israel Philharmonic Orchestra, Disc 1 (0f 2), Universal Japan SHM-SACD: Right away, I like the blooming, warm and detailed sound quality that I hear listening to Leonard Bernstein conducting the Israel Philharmonic Orchestra in Mendelssohn's "Hebrides" Overture on this Universal Japan SHM-SACD. I like the way the interpretation captures the roiling, turgid qualities in the music. I like Bernstein's way with the ebb and flow and the rhythms in this piece. The Israel Philharmonic brass sound sharp and crisp. The strings sound warm and blooming. The woodwinds sound perky, reedy and chipper. I love the contribution of the Israel Philharmonic clarinets. I like the way the choirs interact with each other. I love Bernstein's ear for orchestral balance, architecture, drama and rhythm. I can't help but to dance to the music in my seat! I love the way that Bernstein and his Israel Philharmonic players bring out the angst in the roiling opening of the 1st movement (Andante con moto) of Mendelssohn's Symphony No. 3 in A minor "Scottish." I love the way the recording engineers have captured the warmth and bloom and the sharpness and clarity of the orchestra. The sonic image closely mirrors what I experience live in the concert hall. I love the dialogue that I hear between the orchestral choirs. I love the way Bernstein's interpretation captures the ebb and flow, the swelling and heaving in the music. The interpretation strongly evokes the movements of the sea. I love the way that the Israel Philharmonic woodwinds and brass open the 2nd movement (Vivace non troppo). I love the way that Bernstein's interpretation captures the high spirits, urgency and rhythm in this movement. I cannot help but to dance and clap along with the music! I love the the pizzicato playing from the Israel Philharmonic string choir that opens the 3rd movement (Adagio). I love the way the string choir interpret the flowing melodies in this movement. I love the contribution of the Israel Philharmonic woodwinds. I hear exquisite subtlety and sensitivity from Bernstein and his Israel Philharmonic players. I love the way that they express the emotion in the music. I love the romantic qualities that they bring out in the interpretation. I love the way that Bernstein and his Israel Philharmonic players bring out the strong rhythms and the magical spirit in the opening of the 4th movement (Allegro vivacissimo). I love the bloom and clarity that I hear in the recording. The recorded sound really enhances the interpretation. The Israel Philharmonic woodwinds sound exquisite and I love the way they bring out the supernatural elements in the music. I love the wonderful subtlety (and ear for texture and rhythm) that I hear from Bernstein and all his players. I have clapped and danced and waived my hands in the air to this performance from the first note to the last! These marvelous recordings were taped by Deutsche Grammophon in 1979. The analog to DSD remastering was completed by Emil Berliner Studios for Universal Japan in 2018.
Thank you guys! I went to the record store today and found a Raff CD there: Violin Sonatas 1 & 2, which I just put on and am enjoying so far. I also picked up these two classical SACDs, to be listened to later: $7.99 for the Gergiev, $4.99 for the Jarvi
StereoSound are flat transfers from the UK master tapes, but either one or two of the four parts is out of print and quite expensive. I had an online friend say there were issues with the tapes. But that hasn't stopped me from liking "inferior" condition sources like the 35DP original stereo mix of Kind of Blue. Oh well that's in the past now, doubt I'll find the StereoSound reissues for reasonable amounts short of getting lucky next time I'm in Japan. I'm quite happy with the original US London mastering but maybe this is an instance of you don't know how it could be better until you hear better This has been a reminder for me to buy the last of the StereoSound reissues I was interested in before this happens again. Your description sounds like how I hear many DG or Decca SHM-SACDs, except for the compression part. I haven't been on hraudio.net all that often. Around the time I joined SH forum the old sa-cd.net used to be a great resource, then they just sort of killed it off with this revamp.
Thanks for the feedback. I'm happy with the sound of the old 80s London CDs too. I have never purchased any StereoSound discs, due to the high cost. I feel like I have to draw the line somewhere with my music spending. I stopped buying Esoteric discs too after being disappointed with the sound on a few of them. I don't find them to sound consistently good like for example Analogue Productions classical SACDs, and they cost a lot more.
I agree with yon on Esoteric SACDs, I stopped buying them. I used to like them after joining the forum when I got caught up in the momentum of its thread and not comparing them to anything else. They sort of sound like how Esoteric CD/SACD players sound. The AP Living Stereo SACDs mastered by RKS are by far the best/most consistent classical reissue series I've heard, I really can't believe how much of an improvement they are over the BMG Sony SACDs or 80s/90s CDs. Comparing against the AP reel to reel master tape copy we finally get hear these albums in their full fidelity. I didn't think the fidelity on the AP SACD of Capriccio espagnol was up to the standards of the others so I bought the Weekend Classics for it but haven't had a chance to compare yet.
I am not ready to give up on all Esoteric SACD releases just yet...they are hit or miss...I have also encountered some duds but I have encountered Esoteric gems as well. These are some of the gems: This may be my favorite SACD of the famous Backhaus/Bohm recording of Brahms Piano Concerto No. 2 I loved the sound quality on this SACD (reviewed upthread). This was one of the rare "new" Esoteric recordings on SACD and I was very impressed with the sound quality (and interpretation). I loved the sound quality on this SACD (reviewed upthread).
As you can see, I have by no means heard all Esoteric releases (there have been 148 of them so far). I am still interested in hearing more of the Esoteric SACD catalog (despite encountering a few duds so far) because in my experience the ratio of Esoteric gems to duds (so far) favors the gems. HRAudio.net - Discs by Label
Glad you shared the duds, though. Is there a reasonably priced source of Esoteric SACDs? The prices I've seen are outrageous.
Unfortunately, there is not. The price of the Esoteric SACDs has gone up significantly since I first started buying them while the price of all other imported Japanese SACDs has gone down as the yen has gone down relative to the dollar.
I bought all the ones I own from Acoustic Sounds. I think I paid either $50 or $60 each. Now they are $75.
The biggest disappointment for me was the Esoteric SACD of the famous Beethoven Symphonies 5 and 7 by Carlos Kleiber. I remember reading comments on it before I bought it , and someone was saying there was a big improvement, especially in the Seventh. Well, to my ears the Fifth sounds decent, but the Seventh sounds downright bad. From the first few seconds it sounds extremely dry and dull to me, like the life, ambiance and air was sucked out of it with severe noise reduction. I don't know if that's just the way the recording sounds, or what.
My favorite version of that recording is the Universal Japan SHM-SACD re-issue which sounds notably cleaner and more transparent than previous versions to my ears. Beethoven: Symphonis No.5 & No.7 [SHM-SACD] [Limited Release] Carlos Kleiber SACD
I've been buying a lot of discs from Japan recently for that very reason. I usually will only pay up to $30 for an SACD. Guess I won't be obtaining any Esoteric SACDs...
I can't blame you for that decision. I have made the same decision...stock up on the other Japanese imported SACDs right now while the price is right!
Speaking of Esoteric SACDs (and Kleiber for that matter), I have another I can recommend - if only because it's the best sounding version I've heard of a great recording that's unfortunately never sounded too good: I was quite skeptical of what the benefits of converting an early digital recording to DSD (likely set down with a bit rate no higher than 24-48, possibly only 16-44.1) could possibly be. But I have to admit that some of the stridency of the strings and excessively harsh sounding brass, key characteristics of the dreaded condition known as digititis, are somewhat neutralized here. No, it still isn't perfect, but it's an improvement - and I will take what I can get, since this is on my short list of great Brahms 4 performances. Unfortunately as noted in this thread - these discs go for a pretty penny in the wild these days. I bought this one ages ago for ~$80 - but a quick scan of eBay shows it going for $500 now!
