The first release of the first stereo recording of the work, the historical importance of this set of Wagner's Siegfried is undeniable. Recorded by Decca at the 1955 Bayreuth Festival, this performance directed by Joseph Keilberth was to have been issued as part of the first complete Ring cycle. But persuaded that only a studio recording could do the work justice, Decca decided to shelve Keilberth's performance, a decision that led to Georg Solti recording Siegfried with the Vienna Philharmonic and ultimately to the release of a Ring cycle that many still regard as the finest ever recorded. But aside from its inherent historical value, what's its aesthetic value? While much better than average, Keilberth's Siegfried doesn't challenge the established order.
Richard Wagner is best known for creating several complex operas, including Tristan and Isolde and Ring Cycle, as well as for his anti-semitic writings. 43 CD set on Membran International Documents: Der Fliegende Hollander (Krauss–1944); Tannhauser (Heger–1951); Lohengrin (Keilberth–1953); Das Rheingold (Neuhold–1993); Die Walküre (Neuhold–1994); Siegfried (Neuhold–1994); Götterdämmerung (Neuhold –1995); Rienzi (Zillig–1950); Parsifal (Knappertsbusch–1951); Die Feen (Ötvös–1998); Meistersinger (Karajan–1951); Das Liebesverbot (Heger–1963); Tristan & Isolde (Furtwängler–1952). Included is a 24 page booklet with cast lists, plot summaries, and background notes.
"…Janowski's pacing and preparation of the orchestra is masterly. Reacting with sensitivity to the score, the tender & reflective scenes are given space to breathe without taxing the singers into strained tone. (…) The more one hears, the more one appreciates the vocal acting as well as the superlative orchestral contribution (make no mistake, there are at least 3 world class orchestras resident in Berlin today). This listener (at least) is eagerly awaiting the next installment of the Ring." ~sa-cd.net
James Levine's is a more recent entry in the realm of Dutchman recordings, and sonically the recording is absolutely stunning, with great attention having been paid to the recording process. The casting for this Metropolitan Opera effort is also uniformly first rate, even in the less grateful roles of the hapless Erik, sung by the impressive Ben Heppner, and the scolding nurse, Mary, sung by Birgitta Svendén. Morris's brooding Dutchman is hard to match on any other available recording, and Deborah Voigt is a ravishing Senta. The chorus work is quite good, though not quite as rich as that heard in the Solti/Chicago recording. Overall, Levine does a workmanlike job of conducting these impressive forces, though there are passages in which his tempi seem to drag. This recording is a must for anyone who needs a completely up to date version of Wagner's first major opera.