Composer: Richard Wagner
Works: Siegfried
Performers: Siegfried – Lauritz Melchior (tenor), Brünnhilde – Kirsten Flagstad (soprano), Mime – Karl Laufkoetter (tenor), Erda – Kerstin Thorborg (contralto), Fafner – Emanuel List (bass), Woodbird – Stella Andreyeva (soprano), Orchestra of the Metropolitan Opera, New York, Artur Bodanzky (conductor)
Recording: Recorded live on 30 January 1937
Label: Guild Historical 2207/9
Wagner’s “Siegfried,” the third installment of his monumental “Der Ring des Nibelungen,” not only exemplifies the composer’s innovative approach to opera but also highlights the golden age of Wagnerian performance, particularly as captured in this live recording from the Metropolitan Opera in 1937. This era, marked by an extraordinary convergence of vocal talent and interpretive depth, is vividly brought to life by a cast that remains unparalleled in the annals of Wagnerian singing.
The performance features Lauritz Melchior, whose portrayal of Siegfried is nothing short of legendary. His voice, characterized by its radiant brightness and remarkable range, delivers an interpretation infused with youthful vigor and lyrical sensitivity. The forging scene (CD 1, track 17) serves as a prime example of his ability to meld the dramatic narrative with vocal prowess, creating an exhilarating moment that captures the essence of Siegfried’s character. Friedrich Schorr’s Wotan, on the other hand, embodies a more complex psychological landscape, revealing a profound sense of weariness and moral conflict. His phrasing is both expressive and nuanced, particularly in his exchanges with the Woodbird and during the reflective passages with Kerstin Thorborg’s Erda in Act 3, where the two singers weave a tapestry of foreboding and inevitability.
Artur Bodanzky’s conducting, while marked by some performance cuts—48 pages omitted—maintains a flowing, dramatic pace that allows the orchestra to shine, albeit with certain sonic limitations. The sound quality presents challenges typical of historical recordings, with occasional “purring” and the aforementioned coughs during the prelude. Yet, these imperfections do not overshadow the performance’s overall strength; rather, they serve as reminders of its immediacy and the vibrant atmosphere of the live event. Guild’s restoration efforts, aiming to preserve the original acoustic without electronic interference, succeed in capturing the raw energy of the evening, although purists might lament the edits made for coherence.
The characterizations extend beyond the primary roles, with Karl Laufkoetter’s Mime providing a compellingly neurotic and cunning foil to Siegfried’s robust nature. His performance is sharply defined, embodying the character’s desperation and craftiness with a palpable sense of danger. Emanuel List’s Fafner adds a layer of menace, particularly in the fight scene, which is vividly executed and thrilling. Stella Andreyeva, as the Woodbird, contributes a bright, ethereal quality that complements the more grounded performances, enhancing the contrast between the ethereal and the earthly.
Though Bodanzky may not be the first conductor that comes to mind for Wagner, his handling of orchestral texture and dramatic pacing reflects a deep understanding of the score, allowing the singers to flourish. Comparatively, while modern recordings may deliver enhanced sound quality—such as the pristine clarity found in Solti’s interpretations—the visceral impact and interpretive depth of this 1937 performance command attention.
This release not only documents a historical moment in Wagnerian performance but also serves as a testament to the extraordinary talents of Melchior, Schorr, and Flagstad. Their combined artistry encapsulates a unique convergence of vocal excellence and dramatic storytelling, making this recording a compelling addition to any Wagnerian’s collection. The opportunity to experience such a remarkable gathering of talent is an invitation to witness the heights of operatic achievement during a truly golden era.
