My criticisms perhaps right away: As would be the undoubtedly annoying fact that the prompter is quite common to hear in quiet passages, which affects probably a little irritating, especially at the first hearing and particularly for ring newbies. Mir is a mystery how this mistake could happen, because there are from the same year (1966) at the same place (Bayreuth) under the same conductor (Boehm) an impeccable in this regard, very popular recording of "Tristan und Isolde". Strange!
With the inevitable (yes, that's an exaggeration!) Wolfgang wind lanes as Siegfried I've always had a bit problems. He has been who has always put their heart and soul into his roles and there are recordings in which he I like about (eg the Fidelio recording of Furtwängler, Euryanthe recording of Leitner), but his timbre certainly a good singer and always slightly whiny voice could inspire me particularly ever, when it came to his Siegfried. I am therefore always a little surprised how high his Siegfried is praised. In this recording Windgassen was also no longer the youngest and that leaves the "Siegfried" inside the ring here drop a little. To make matters worse, that wind alleys not only are here to Siegfried, but in Rheingold also occurs as Loge. He is by no means bad, but there are certainly better Loges!
That would be my main criticisms, but now on the reasons for my 5 star:
As would zuächst the baton Böhm. He is indeed sometimes denounced as "industrious artisans" who lacked the genius of Furtwängler or Karajan. Wrongly. Although Bohm worked the subtleties of the score is not so out as different and in some places is to me to be very brisk pace a little too fast (Rheingold Prelude for example), but this very rapid tempos and the Bayreuth live atmosphere to develop a dramatic maelstrom of me is encountered as in any other recording. And unlike Solti he crosses the singer not a sound roll. Large portions of the singers ensembles vote yes to the agreement of Solti, but here affects the whole much more natural and less brutal, the singers have to breathe more air.
Someone said in a review times, Böhm's death march of Götterdämmerung had it a bit dry. The one can certainly see that, but this is the short time later following instrumental finale with the redemption motif of breathtaking beauty that no other attempt it so !!!
The orchestra: The Bayreuth play hard to Bidder passion, amazing! Here the music drama is lived!
Among the singers:
Alberich is one of my favorite characters from the ring and that's why I'm starting this time with him: The century-Alberich by Gustav Neidlinger (which my personal opinion, only Oleg Bryjak can range under Neuhold the water, so read that right, Bryjak, Neuhold! ) can be heard yes in a series of shots (Keilberth, Krauss, Kempe, Solti) and it is always and always a pleasure. This is his last ring receiving and here I like it actually best. His voice has perhaps not quite the force of the 50gern, for Neidlinger designed the role more differentiated than in the early recordings. The combination of live and Atmo stereo sound makes it all the more impressive. What is more precious than his "... heard the thief now like" what nastier than "lustful ... I lechz to you!", What scary than "... he'll die there panting ..." ?? ?
The second very thick plus point for me is James King's Siegmund. The best Siegmund, I have not heard on CD. What "are united love and Lenz!", For Wälse calls - Terrific! Ramon Vinay and Jon Vickers might have a similar amount of fire, but only King comes with the German language properly and rightly so. Especially with Vinay disturbs not only the accent (that would be for me still acceptable), but he simply schludert with the text! (That's why I can not entirely for the so-much-vaunted Keilberth Valkyrie of '55 inspire) And both Vinay and Vickers sound sometimes a bit rough, not as King James. The "Valkyrie" (particularly the first act and the death pronouncement) is thanks to him for a rousing experience. Leonie Rysanek as Sieglinde is also great class, though not quite so over-the-top as King. Gabriele Maria Ronge in Neuhold ring remains as mainly due to their more youthful voice my favorite.
Theo Adam as Wotan was always in the shadow of Hans Hotter and there are many who do not particularly like his voice, especially as Wotan. Granted, his vocal technique is not always perfect and elegant, the powerful voice of a Hotter has not Adam, but he sings unlike Hotter very text understandable and creates an (almost) equal footing, intelligent role Portrait with many strong moments (especially the scene in Rheingold, Wotan in the Ring does not want to give up, has impressed me, because really puts energy in it! Also in the Valkyrie he has loads of brilliant moments in Siegfried he is unfortunately weaker). Adam is certainly not the most beautiful vocal Wotan, but the design of the role he is almost every other Wotan interpreter superior (far), including, for example, James Morris can only dream of at Levine!
Martti Talvela manages like no other to arouse the audience sympathy for his giant Fasolt. It breaks one's heart almost! Kurt Böhme convinced on full line as Fafner. The battle with Siegfried is the scariest I've heard so far.
Birgit "Steelson" as Brünnhilde. Yes, her voice is somehow the madness and it is not without reason that their interpretation of the role was so famous, it has an enormous amount of power. But sometimes I would like to see a little more human, warmer Brünni ... but on the whole course, very good!
Erwin welfare as Mime is good, sometimes a bit overexcited ("Fafner Fafner!"). Mark word Zednik, Kuehn & Proud because I find better.
Dalberg sings Hagen and he does it in his old age still impressive ("to his destruction, he already serves me ..." is a through and through!). Thomas Stewart is a top moderate Gunther, Ludmila Dvorakova is more of an average Gutrune.
Annelies Burmeister sings a convincing Fricka.
Anja Silja excited as Freia and 3.Norn.
Remains as a final point yet Waltraute of Martha Mödl: amazing! As dramatic as here, there is the scene Brünnhilde / Waltraute anywhere else, for some it is often even pretty tough ...
Before I conclude, again briefly, a few words about the sound: If this thing would not be to the prompter, he would wirklilch tip, but even so I am very satisfied with this former first stereo live ring (now there yes the Testament ring under Keilberth from 1955, also in stereo). The sound is full, exciting and very well balanced.
In conclusion remains to say that you certainly what may suspend this ring here and there, but as a body of work I know so far no other recording, the World Drama Wagner brought so vividly to life and to life. For the first complete Ring I would advise to beginners but rather Neuhold. The dirt-cheap there, still is very good, you can hear no prompter and Neuhold is not quite as fast on the road as Böhm (still exciting!), Which is perhaps better to know Wagner's work of genius for now.
PS: The box is accompanied by a small booklet containing summaries, a small essay on Karl Böhm and some nice photos.
