This reading is for the nearest town (2 miles away) and 370 ft lower at the bottom of the valley.
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Ring Cycle Recordings
The Modern Reference Recording
This early digital recording is to my mind the last great Ring recording of the modern era and the best studio version ever. It seems neglected by many. Is this because Janowski isn't as well known outside Germany and Poland or because it was recorded on a minor label and is here sold at a budget price? Maybe some believe it must be an inferior ring because of the lack of marketing, in which case they are missing out on a great recording. It was released in the early 80s to good but not outstanding reviews, (fashions in Wagner productions come and go I suppose). However I feel that the passage of time has been very kind to this one and it needs fresh appraisal. For the singers this is their finest hour; capturing voices at their peak (even Adam sounds better here) and no subsequent recording improves on this version. I find that this is a studio version that almost captures a live atmosphere without the downfalls of a live recording, perhaps because it was recorded in fairly short periods (RG - 4 days; DW - 7 days; S - 2 months; G - 3 months), or the takes were longer? It also helps that the cast is very consistent throughout the Cycle. Now I'm aware that it's a minefield out there and some very strongly held opinions are waiting to pounce. And we all know that such an enormous enterprise cannot be totally consistent. Reviews will go into detail about individual voices or orchestral sound, etc. If that is important to the reader then research extensively because the views often contradict and can be quite personal, just as this review is. Your investment needs to be made carefully, although 2 or 3 out of the versions I've selected will definitely satisfy most listeners.
My most listened to version is the Böhm Bayreuth recording, followed by Solti and Goodall, with excerpts from Furtwangler, Levine and Boulez, with smatterings of some older, live recordings. I’d like to listen more to some of the older recordings but the quality of recording is definitely an obstacle. Not that I’m an audiophile; I just like clear, natural sound. If you can ignore this problem then it might be for you. OK, sound first :
Furtwangler - Mono and either a bit muddy or downright awful and not hi-fi. The ear does adjust though.
Solti - Thrilling sound and fidelity for such an old recording. Recorded to impress and it succeeds. However it is an early stereo recording and there’s some fascination with the new technique that was quite common then. Demonstration class.
Böhm - A great live recording with real atmosphere. This also means inevitable stage noises, some coughs, creaks, etc. Some scenes have an annoyingly intrusive prompter. With repeated listens it actually becomes more obvious and irritating!
Goodall - A fine, live recording. Nothing spectacular though.
Janowski - Pioneering digital recording. Microphone placement and balance is practically perfect e.g. Siegfried’s funeral march will astonish you with its power and clarity. Sounds and voices emerge from silence in a spectacular fashion. Dynamic range is huge, which can be a bit anti-social and entails frequent volume adjustments, so not one for listening to on the move.
Next, the orchestras and the interpretation of the music:
Furtwangler - The great man often struggles to get the best out of his orchestras. Be warned! Check other reviews elsewhere that go into more detail. Nevertheless they pull it off - in a fashion - and this is completely overwhelming music making in the end due to his leadership and great voices.
Solti - He has the VPO on superb form throughout. Need I say more? As has been noted before, the balance favours the orchestra - which would probably not be Wagner’s intention. There is a constant thrusting and aggressive dynamic that is exhausting for prolonged listening. You sometimes feel that the more relaxed and reflective parts of the opera are played with less commitment as he waits to hit you with another climax. Worst of all it almost treats the listener like a novice who needs the highlights pointed out; a bit Hollywood. Solti seems to be battling with his musicians, so that it all becomes a bit tiring and perhaps accounts for the reluctance of some of the singers to really live the parts. Great for demonstrating parts of the score though and probably best as a beginners Ring, but once you hear a few different versions you will be looking for a more mature version.
Böhm - Gets great playing out of the Bayreuth orchestra and considering it’s taken from long, live performances it never sounds tired. He keeps up a pace, which is probably more to Wagner’s original directions, but sometimes you feel that it moves a little too quickly in places that you want to cherish more. Or - having listened to Janowski - that he doesn’t always pull out the complexity of the score or character as Janowski does. Böhm does have a concept of the whole cycle though and you are just propelled along with it magnificently. Böhm, Kleiber and Furtwangler are Wagner conductors who almost seem to become the music.
Goodall - Very, very slow. I really struggled with this. It could put a listener off Wagner for life. The orchestral playing is a bit hit and miss too to be honest. I don’t like this interpretation at all despite some very able singers. Others love it and consider it an underrated marvel. I don’t. For me the conducting is overly reverential and almost precious - even though the translation is so fresh.
Janowski - There is a modesty about his conducting and a clear, intellectual approach. The music moves along quicker than most conductors, but not at Böhm’s speed. In fact, each scene seems to move along quicker than any other version because you’re so into the drama, unlike some versions where I’m glancing at my watch or waiting for the next cue point on the CD. The balance between orchestra and voices is almost perfect; everything clearly heard and the most revealing of the score. He allows the drama to unfold naturally. It just feels right; the nice changes in pace, the emphases, space for the music, the love for the score. He’s moved right away from the overly reverential and bombastic approach favoured by some well regarded older recordings - mentioning no names! Listening to this version I’ve gained the greatest understanding of the music yet - without being dazzled by a “look at my brilliance” interpretation. Accuracy of rhythm and attack are exemplary. Also worth noting is how well most singers and orchestra support each other and listen to each other. Recordings since have often been either too rapid, turgid, thin sounding or marred by very variable singers. The Dresden players are of course superb with spot on timing, tone, that “golden sound” plus great discipline; a match for the VPO. Remember too, it was Wagner’s orchestra.
The bit that most people want to know about is the singing and performing, as it should be. Trust your ears. Here’s where opinions differ radically. I wonder whether much of this is to do with first encounters, or taking what some music critics say as gospel?
Furtwangler has a great cast in both of his major recordings These are voices that we have sadly lost.
Solti and Böhm are equally blessed with good singers, or hindered by some inconsistencies. As a whole I find the singers are much more committed and “in the zone” with Böhm; it must be the live performing that brings out greater commitment. The clearest example of this is Act 1 of Walkure in which James King sings sublimely for Böhm.
Goodall has some fine voices too, especially Remedios. Unfortunately, for me this Ring fails in many respects and could’ve been a much better concept. I actually like the sound of Wagner in English and the translation is great.
So what about Janowski? This cast is excellent and rather than listening with a critical ear that constantly compares to other recordings, or is wooed by the performance of a particular singer, you can just enter into the character immediately, which is why it bears repeated listening. What about the leads? Yes, it would be nice if we could have the huge voice and glorious tone of Flagstad, or the amazing intensity and stamina of Nilson, but Altmeyer sings superbly considering those that sang before her and that can never be criticised. German speakers have criticised her ‘American’ accent. Some say she is too lightweight, but is that because she really is or because the ‘Legends’ of the past had bigger, mature voices and we think that is how she should sound? The latter-day Brunnhilde’s are often unbearable to me; try listening to Behren’s for hours on end, or Jones! However Altmeyer really could be the teenage Valkyrie that Wagner intended. She has depth. She has a lighter tone and youthfulness that makes you believe in what you are hearing and she produces the loveliest sound of any - apart from Flagstad. I love Flagstad more than any other, but she always sounded like your mother (some read this as “representing all women”). If Altmeyer could commit as well as Nilson I would be very happy, but she is probably as good as Flagstad in this respect who wasn’t known particularly for her acting ability, but like any Ring recording we must accept compromises. Even if you don’t think she is well cast as Brunnhilde (I do), there’s no denying that there is light and shadow in the portrayal of another flawed character in the poem.
Kollo as Siegfried is the real highlight though; this is an intelligent and lyrical reading of the impetuous youth. He’s probably at the limit for his voice, but he was always one of the most thoughtful singers and that’s a great bonus here. Again - in comparison - the great interpreter Windgassen could also sound dry and old - to me - for Böhm and Solti. Theo Adam always gets knocked and every review always starts with some negative qualifications, but he had a long career singing the part of Wotan and was chosen for good reason; he understood the role and was the best at the time, and the best after Hotter (personally I prefer Adam’s Wotan because I think he is more in character). His declamation is superb. Sometimes he sounds better than in the live recording from 15 years earlier. Anyway, he always manages to move me and as the Wanderer for Janowski he seems stronger and steadier of voice. Alberich is nearly always well sung and Nimsgern is well cast with his distinctive, dark and harsh tone; the best modern Alberich after Niedlinger to me and I think he presents him as a more complex character than others manage. The twins are beautifully sung by Jerusalem and Norman - who was then young enough not to overpower and enunciates superbly, as do all the cast (a great Ring for following the Libretto). The Rhinemaidens are beautifully sung (a strong team again - as are the Valkyrie), sounding like playful girls rather than a hen party warming up. In contrast we have Moll as Hunding. He cannot put a foot wrong for me and if I was Siegmund, I’d get out of there quickly! The smaller parts are well supported; Matti Salminen even elicits sympathy for Fafner as a magnificent dragon and his Hagen is the most frightening ever recorded. But a special mention should go to the finest Mime we have from Peter Schreier. He really sings the part and gives you all the complex facets of the character better than anyone else. In Rhinegold he sings Loge with great character too (only Emile Belcourt for Goodall is better to me). Siegfried was always the part of the drama I would have the greatest difficulty in staying with, but Janowski and his singers keep it interesting and moving and allow you to really follow the action - largely due to the interplay between Kollo, Schreier, Salminen and the gods Wotan and Erda. One thing I notice each time I listen is how the more “fallen” characters aren’t just intrinsically evil, but are corrupted by the Ring and the forces unleashed. Other versions fail to reveal this to varying degrees which cheapens and oversimplifies the drama. Really, everybody sings beautifully without force or strain.
Many reviews stress the parts of the cycle and the individual singers, but ultimately it's about the drama as a whole. Wagner stressed the importance of the acting and the drama. Initially the score was almost secondary - although he changed a little after Siegfried as the motifs became increasingly complex and his philosophical outlook altered, but it's still about the overall effect rather than the parts. Also, we know there's no such thing as a perfect Ring and in today's climate we are a long way from getting close to past glories so we have to look at what we are left with and there are some great recordings to choose from. I used to turn to Böhm's live set for the sheer drama. Solti is great for winning over new listeners and dipping into, and the older recordings are a revelation to the experienced listener, but Janowski's is the one I turn to for enjoying the score and the drama, while marvelling at the playing and beautiful sound. Some have said it tends to pull back at moments of highest drama. No, that isn’t true and is based on selecting ‘bleeding chunks’ to compare with others. I find it’s just true and free of bombast. The Solti ring suffers from an excess of pathos, weight and gimmickry and this has coloured much perception of Wagner’s music. Some "effects" may seem a bit weak after Solti (e.g. Donner's hammer blow to summon the rainbow bridge in Solti should be a triangle according to Wagner. Janowski is true to this), but it always sounds lovely and you will keep returning to it. Unfortunately the accompanying booklet doesn't include a libretto and you will need to use another recording's, or buy one or download a free one in the public domain. Don't be put off by the lack of gushing reviews and those that want you to part with lots of money for less "common"/esoteric/fashionable, but faulty recordings; trust your ears, this is a superb Ring at an amazing price.
Garden gate
The HOP Garden has desperately needed a new gate since we took it on. The original gate was a botch job from a previous owner who just cut through the fence and put on some cheap but inadequate hinges. The result being that whenever gales hit, the gate was torn off. I was sick of repairing it and re-hanging it. By last winter it was obvious that another gale would finish it off for good. Not only that, it was awkward to lock or unlock from one side and it didn't allow people to see in. As I had taken a large stem of the ash tree out in early spring, I decided to make a proper cleft-ash gate out of it and leave the rest as firewood. My smaller orchard gate was a good trial run, but this proved to be a different job altogether!
After a long time getting the pieces to a reasonable shape and seeing what would fit where - depending on the twist and bend of matching parts - it finally came together. It's a bit like a 3D jigsaw in some ways. Unfortunately, the hinge end post was just too bent to hang the gate or swing and I had no ash left to replace it. The gate was put on hold for months until my friend James gave me a much straighter replacement which I managed to split well (the other pieces will make another, smaller gate). After a bit of adjustment and having to arrange hinges in a rather 'odd' fashion I had a gate that was straight, swings beautifully and has opened up the allotment nicely.
There are a few neighbours saying they would've done this and that...etc. Naturally, they haven't a clue what it's like to work with cleft, green ash and the need to go with what you have rather than what you want to do! Anyway, a brush with linseed oil and some chicken wire stapled on and it now looks lovely and should discourage escapees and small dogs.
Latest Books
Kephart's book is a combination of two books written at the beginning of the last century and reproduced here in a facsimile edition. His style is engaging and he speaks from years of experience of actually living in the American wilderness. Some of the details are out-dated, but a surprising amount has come full circle and is what we're doing now in the outdoors.
The Last Child in the Woods book was bought in America to compliment my Forest School course. I recommend this to anyone vaguely involved in education or childhood. He talks so much sense and makes a strong case for getting kids outside. It could've been a bit shorter to be honest. This is an extract from a review:
"....Already a perennial "New York Times" bestseller, "Last Child in the Woods" shows how our children have become increasingly alienated and distant from nature, why this matters and how we can make a difference. Camping in the garden, riding bikes through the woods, climbing trees, collecting bugs and butterflies, picking wildflowers, running through piles of autumn leaves, cooking over a campfire and telling ghost stories under the stars...somewhere the pleasures of a free-range childhood have been lost. And with the indoor habits of today's children come other problems - epidemic obesity, attention-deficit disorder, isolation and childhood depression. This timely book, which has inspired the influential international movement Leave No Child Inside, has not only highlighted the problem and provoked debate; it also offers practical advice on how to help children to enjoy the natural world - starting in our parks and gardens, homes and schools. This is a clarion call, brilliantly written, compelling and irresistibly persuasive - a book that will change minds and lives."
Paraffin Lantern
This is a Dietz lantern. An American company, but I don't think they're made there anymore. It's well assembled and much better than my cheap Chinese one I use for the garden and camping.
The Beatles
Chris Evans played nothing but The Beatles for 2 hours last night. How many bands could you do that with? Not one track was a filler and he could've had another hour of their hits. Incredible when all bands since have struggled to create a third album or more with such freshness and appeal.
Any nominations?
Great videos
Ashes cricket
If only the authorities would sell rights to terrestrial TV instead of to the highest bidder and then a much bigger audience and more children would be encouraged to watch and take part. The momentum gained from the previous ashes series was stifled by this short-termism, but it's all been said before!
Alton Towers visual castration
What have we come to when silly fashions and increasing prudishness should dictate what we wear? The fact that in Europe, men have to wear them in public pools for hygiene reasons and that they are easier to swim in and may encourage males to get a bit more exercise and get in shape is surely reason enough to mock this silly ruling.
I have four things to add to these weird people:
One, you don't have to look at the outline of male genitalia
Two, children don't care until their parents make them feel shame and discomfort.
Three, get over your pervy minds.
Four, why don't you complainers mind your own business.
If you recognise any of the above, LOOK AWAY NOW
As a proud wearer of swimwear, rather than dork shorts I defy you strange people!
New England USA
- Sailing off Marblehead (in the middle of an ocean race!)
- Wandering around Boston with Sarah
- The peacefulness of New Hampshire
- Eating wonderful food from Claudia
- The light in Rockport
- The tall ships
Now I just want to be back there!
More images can be seen at the photos page here
Marblehead
London in March
Storm kettle
Basically the decision was made because our gas canister powered cooker isn't particularly environmentally friendly or cheap to run. Also, once the gas is halfway through it can take ages to boil a kettle anyway!
Such a simple but effective design.
