The Tale of Wagner's Ring in 2012:

 Interesting thing about Wagner's Ring cycle - in 2012, the ones getting the attention are the oldest, in one case, the first stereo Ring released (but not the first recorded) and in the other, virtually the first commercially recorded cycle in mono. In both cases, likely the two greatest Ring cycles ever recorded, significant since both are in the 50 to 60 year old range.

Solti's Vienna Ring is given a very 'deluxe' edition from Decca, almost certainly the last kick at the can for this cycle that has been the de facto standard version for over 50 years, an astonishing testament to both its exceptional recorded sound and the near perfect interpretation. Little needs to be said about the Solti Ring - it is glorious, if somewhat hard driven in places, but the drive of Solti gives it a gloriously burning quality, and it is very well sung by a fine cast (although some were getting past their primes). The stereo sound is astonishing for its time, and the many sound effects, manually produced, give the recording a feel of being a stage production of an earlier era. The new remastering is intended to compete with the out of print and astoundingly expensive Esoteric version, and although I have never heard that, I can say that this version is simply beautifully remastered with extreme care, easily supplanting the 1997 version that I have owned and quite liked (although many complained about use of noise reduction). Improvements in both mastering technology and noise reduction software are obvious, and although this remastering is taken from the 1997 digital transfer (24 bit 44.1khz), the increase in realism, tonality, and accuracy is worth every penny - and the far more natural sound, organic wholeness, and coherence of the spatial cues for me made this a compelling version, that flows seamlessly - once it is 'on the table', it grips straight through and mesmerizes such that time seems suspended. The 1997 sounded very good, if a bit polite and sterile. The 2012 sounds powerful, driven and incredibly open.

The goodies in the box are welcome, particularly the Culshaw book, the Cooke doc, and curiously the Gramophone repos which are very cool.  The fill-up disc of Wagner overtures is not of the same caliber as the Ring itself, and the Bu Ray disc containing the 24 bit 44.1 files is BD+ protected so I couldn't copy the files to my hard drive - unnecessary paranoia, and annoying.

Expensive, magnificent, the last word on a great Ring and high point of recorded music. No great music collection should be without the Solti Ring and it has never sounded so perfect.

Then again, in the same price range ( a bit more, actually) is the Japanese hybrid SACD remastering of the Furtwangler 1953 RAI Ring, an Italian Radio studio production, and just as singular an event. This is the first complete studio Ring, in fact, the first complete version at all if one ignores a poorly recorded LaScala Ring from Furtwangler in 1951, which is so poorly recorded it really cannot be considered. Over the past 60 years, it has generally been thought that the LaScala Ring had better orchestral playing, and even perhaps better singing in some key roles, but that the sound was so poor it could never be a catalog choice. The RAI cycle was better recorded, but still not good enough sonically to be a contender or even anything other than a historical document for Furtwangler obsessives.

But with the discovery - or maybe not discovery, but granting of decades-denied permission - of master tapes with significantly better sound, there needs to be a reconsideration of the RAI Furtwangler Ring. Not as to its musical merits - those are at this point undeniable. Furtwangler gives a gripping, magnificent, incandescent reading, one that is wholly unique given his very personal (idiosyncratic) approach to time and phrasing and deep emotional style. But its sonic merits - all of a sudden, in this 2011 remastering, the sound is so strongly upgraded ( from C or D grade mono to at least B+ mono) that for once we can hear the RAI as a pretty fine orchestra, much better than has long been considered, and the nuances of Furtwangler's reading come through cleanly. The accomplishment here is likely far greater than what has been given Solti by Decca - EMI have not just taken a veil off, this is almost akin to what can be seen after cleaning Michelangelo's frescoes - revelatory is an understatement. Does it all of a sudden become a first choice? No, it can never be that. The sound is still nowhere in Solti's league. But it is, at last, eminently listenable, and although the orchestra still remains recessed, the singing is not - and it far surpasses Solti. And of course Furtwangler - this style of conducting, this unique interpretive style and  insight, will never be heard again. Those who revere Furtwangler, myself among them, understand that in the hundreds of recordings of any given work, only Furtwangler is truly unique, and in every case, so deeply moving.

This new remastering of Furtwangler's Ring is just as essential as the new Solti. If I had to pick one (a stupid reviewer straw man concept, I know) it would be Solti. And then I would forever regret not picking the Furtwangler.

Who would have though that in 2012 we would be having this discussion about two Rings recorded before I was born?

And if nether the Solti or the Furtwangler float your boat - there is always the 1955 Keilberth from Testament, Decca's first stereo Ring. Sonically pretty amazing for 1955 stereo (although not perfect, as I found the orchestral climaxes curiously lacking power, and there are numerous stage noises), and as a whole, it actually hangs together better than Solti, if less spectacular. And it is better sung than any....