Die Nibelungen

Starring:Gertrud Arnold, Margarete SchÃ¶n, Hanna Ralph, Paul Richter, Theodor Loos, Hans Carl Mueller, Hans Adalbert Schlettow, Hardy von Francois, Georg John, Frida Richard, Yuri Yurovsky, Iris Roberts, Fritz Alberti, Georg August Koch, Erwin Biswanger, Rudolf Rittner, Grete Berger, Rudolf Klein-Rogge, Bernhard Goetzke, Hubert Heinrich
Director: Fritz Lang
Studio: Kino Video
Product Type: DVD

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A fantastic fantasy; Propaganda or Art?
a triumph
A classic tale brought to the silver screen
Truly an Epic and a Work of High Art!
A mythical icon

Die Nibelungen
Starring: Gertrud Arnold , Margarete Schön , Hanna Ralph , Paul Richter , and Theodor Loos
Director: Fritz Lang
Manufacturer: Kino Video
ProductGroup: DVD
Binding: DVD

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Similar Items:

Destiny (1921) aka Der müde Tod
Faust
Woman In the Moon
Dr. Mabuse, The Gambler
The Golem

ASIN: B00007CVS6
Release Date: 2002-11-19

Customer Reviews:

A fantastic fantasy; Propaganda or Art?.......2007-05-18

This essay is a comparison of the 12th century epic poem, The Nibelungenlied, and the Fritz Lang movie, Die Nibelungen. It examines the message(s) the story might have been intended to convey to its original German audiences. I doubt it reveals much of the conclusion you can't have guessed on your own, and I've taken out the parts that tell you how it ends, but you still might want to watch the movie first.

Film scholar Jan-Christopher Horak, in his essay included on this 2 DVD set, states flatly that Die Nibelungen is "pure propaganda." We must assume he means German Nationalist propaganda, as the movie came out in 1924 and the National Socialist Party was still newly instigated, and not yet risen to power. In fact, at the time the film was in production, Hitler was in jail for his part in the Munich Beer Hall Putsch, writing Mein Kampf, and still virtually unknown to the nation at large. But even then, Germany's Nationalist movement was intent on overturning the Versailles Treaty, imposed after World War One, which installed the Weimar government, limited Germany's productivity, as well as her military, and left her population to starve paying reparations.

My first viewing of Fritz Lang's masterpiece came immediately after reading an English translation of the Twelfth Century epic poem, The Nibelungenlied (or: The Lay of the Nibelung) upon which this movie is based in fairly precise detail. Both share the same characters and plot line, with the only significant differences being the addition of the dragon slaying scene, only referred to in the book; using Hunnish king Etzel's more recognizable name (to most American audiences, at least) Attila the Hun; and the final scene, which I'll omit.

The story is loosely based on real life characters. The presence of Attila places the story firmly in the fifth century. Both the kingdoms of Burgundy and the Huns did exist at that time. The movie adds Attila's departing to sack Rome, and other details of lesser significance, though numerous, not unlike Jackson's treatment of Tolkien's The Lord of the Rings, only less so.

It may be difficult to imagine The Burgundians accepting an invitation to visit her after she was married to Attila, who was a figure of fear to the Goths, and named by them, "The Scourge of God," but honor dictated they do so, and so they did.

part I: Kriemhild

So in what sense is Die Nibelungen "propaganda"? Assuming it is - and I'm not denying - it must be that Germans were meant to identify with the central figures in it, primarily their traditional national hero, Siegfried, and his abused widow, Kriemhild, and Hagen. The "stab in the back," later referred to by Hitler in reference to the 1918 Versailles Treaty, was intended to conjure up visions of Siegfried being run through by King Gunther's henchman, Hagen. And perhaps the German people, to whom this pair of films were dedicated, could see themselves in Siegfried and Kriemhild. But it is Kriemhild who has to carry on after Siegfried is murdered and make the best of, not only being bereft of a husband, but also her inheritance, again at the hand of Hagen, who had it thrown into the Rhine lest she use it to buy loyalty and have her revenge. These events compelled her to submit to the marrying a man not of her faith, itself a violation of her Christianity, in order to obtain means of retribution. The parallels are plain: Siegfried and Kriemhild are Germany; the stab in the back was the Versailles Treaty imposed at the end of the first world war; Gunther and Hagen are the Weimar Republic and the League of Nations respectively, and the Huns are the foreign powers from which Germany must enlist aid (Russia, Hungary, et al) to obtain revenge.

If these symbols are intentional, and Die Nibelungen is to be taken as a metaphor for Germany, her allies and enemies, then what's truly amazing is that no one learned the lesson the tale bears with it. Suffice it to say, the Burgundian rulers and their followers are destroyed.

If the movie was meant to be taken as a metaphor for Germany's plight, did Germans think they would somehow escape the fate of those depicted therein, if Germans followed in their footsteps? Which brings up the question; Knowing the predicament Germany was in after World War One, and knowing Germans would see their nation in the story, might not Fritz Lang have intended Die Nibelungen, not as a propagandist effort to inspire Germans to rise up and cast off the chains of their oppressors, bur rather as a warning? i.e.: "This do at your own peril"? Frankly I find the coincidences between the fantasy and the ensuing reality more than a little striking. Needless to say, if Die Nibelungen was a warning; it was not heeded . . . with catastrophic results.

Part II: Hagen

It is also possible that Lang and Harbou, the writer(s) of the screenplay, intended the audience to identify with the Hagen character. No doubt those who did, in many cases, were Hitler's followers. The reason, obviously enough, for such extreme loyalty in this crowd is that it was held up as such a high virtue by the dictatorship. Hagen is depicted in both the book and movie as acting strictly out of loyalty to king and country, with no regard to himself, or even morality. He kills Siegfried because he understands Gunther desires it, because Siegfried has offended Brunhild, because such obedience is in accordance with the knightly code of honor which demandes he obey Gunther's wishes and commands to the letter in all things first, and on matters of personal discretion, for the good of Burgundy after, as the two are one. He is a model of loyalty up to and including his death.

Hagen's character was not unlike those who, after World War II, refused the ignoble claim that "I was only following orders" to distance themselves from their Führer. The story's original medieval audience considered utter loyalty a virtue, and by a vassal no consideration was to be given to whether a lord was right or wrong. The lord's word was treated as the word of God, who they believed put him in his place to begin with. Hagen knew his duty and unswervingly adhered to it. In fact, in the book, Hagen is treated both as a villain and a hero: A villain for murdering Siegfried, and a hero for his loyalty, and prowess as a warrior. However, the honor accorded Hagen may, in most respects, be due to his prowess as a warrior, but given the medieval mind set, the subtext of this honor must also include his loyalty, in spite of Gunther's errors, as such was a knight's bond of honor. This sense of duty might be somewhat lost on modern audiences, but certainly was not, either to a medieval, or German Nationalist audience.

It's hard to tell if this dueling antagonist/protagonist role was intentionally left in the movie to the end of driving its German audience to such extremity. If it is propaganda, then it must be for this take on loyalty. But even if one accepts Hagen as a somewhat sympathetic figure, loyal to his king and unflinching in the face of death, the lesson remains nearly identical. i.e. To join forces with the king is to lose one's identity in his, and should he fall, your blood will be forfeit along with his. In this light, Hagen was not so much bloodthirsty, as angry at the inevitability of having to die due to an irredeemable set of circumstances.

The story, then, has two opposing, but ultimately equally disastrously fated central characters; interchangeably protagonist and antagonist: Kreimhild, who could no more refrain from seeking revenge for the murder of her husband, Siegfried than she could cease being a queen, and Hagen, who likewise, could no more be disloyal to his liege lord and fail to fight fulfilling his will than he could cease being a knight. This is the principle conflict in The Nibelungenlied and Die Nibelungen, and I suppose what gives the story its enduring appeal. It's high tragedy, and if the German people failed to see their fate closely tied to that of either or both of its central pro/antagonists, the only explanation is that either they were not looking, or like anyone maddened by desire for vengeance, they simply didn't care.

a triumph.......2006-11-11

Watch this movie, soak in the lush forests and beautiful landscapes. Follow the life of the greatest germanic hero Siegfried as he surrenders the hort to the poor citizens of Worms and cry when he is betrayed and brutally killed - remember that no good deed goes unpunished.

Die Nibelungen, and especially Siegfried, is one of my favorite movies. Some of you may laugh but Lord of the Rings doesn't come close to Fritz Lang's breath taking masterpiece. Truly a story that sparks something wonderful in the dark human soul. You can almost hear the gutteral strains of beerhall songs at oktoberfest and witness the mad nazi propoganda of the 20's and 30's.

Do yourself a favour and purchase this movie.

A classic tale brought to the silver screen.......2005-08-02

Die Nibelungen (1924) filmed at UFA ("The UFA Story" ISBN: 0809094835). Director Fritz Lang, the original story "Siegfried's Tod" I have seen it with German subtitles and other versions with English subtitles. Paul Richter (Siegfried) was in 45 other films, from 1921 to 1972.

Siegfried (Paul Richter) is the son of the King of Xnnetn (Sigmund). He forges his own sward so sharp that it cuts chicken feathers.

He is told that near the Rhine at Worms the King of Burgundy (Gunter) and his sister, Kriemhild is at a castle.

Siegfried, "On the hour I leave for Worms to win Kriemhild"..."Show me the way if you want to live!" He falls for the "I know a short-cut" routine.

Die Nibelungen snickers when he is out of earshot;"Your way leads not to Worms, but to Death" Guess who lives in the heart of the forest? Yep it is Fafnir the Dragon.

Poor Fafnir was minding his own business getting a drink when Siegfried gets that "What can I hack" look on his face. The dragon even wags his tail with the approach of Siegfried.

I won't give you the blow by blow. I'll just say that smoking can kill you. Fafnir gets stuck for the drinks and dragon blood drinks allows you to understand the birds. A little birdie tells him that bathing in dragon blood will make him invulnerable.

You guest it cover your eyes. Oops look real quick. "Dragon tail flicks a linden leaf on Siggie's back." Can you say Achilles heel?

Meanwhile back at the castle Volker von Alzey is already singing to Kriemhild of Siegfried' triumph over Fafnir. From here it goes on to deal with treasure, invisibility, and all the stuff that Teutonic mythology holds.

Truly an Epic and a Work of High Art!.......2005-01-07

My real initiation into silent films started with a DVD release of The Lost World, which interested me because it was based on one of my favorite novels. As I have expanded my silent horizons, I have discovered that the artistic quality of many early films ranks easily with the great works of the later parts of the 20th century.

During the inter-war depression in Germany, the economics of the horribly weak German mark put the German film industry in the enviable position of paying their people in marks and selling the films abroad for dollars and pounds sterling. This allowed the most extravagant productions and virtually eliminated artistic restrictions on German filmmakers.

Die Nibelungen is a great example of what could be done. It is huge in scale with fabulous sets and costumes that might rival many modern spectacles. The story is, of course, the great German epic myth of Siegfried, though the plot is much much more along the lines of the medieval epic poem than the more Nordic version of Wagner's operas. It is original in concept and Lang's direction is superb. The photography is beautiful. The characters develop fully, taking good advantage of the nearly 5-hour length. Full of complex themes - love, hatred, a strange medieval concept of loyalty, and especially vengence - this film has the capacity to draw the viewer in and strain the emotions. I just couldn't stop watching, even though I was emotionally exhausted at the end.

Of course, one must make allowances for the special effects - this was the early 1920's. The dragon was described by my daughter as laughable, which I suppose it was. But if you can at least try to look past the technical limitations of the time, you will find an exquisite classic film that is well worth the time investment.

I have discovered a whole world of fine films by learning to see silents within their own context. Many of them, and Die Nibelungen is near the top of the list, are truly great works of art, and must not be dismissed by the modern SFX-glutted audience. Yes, they are black and white. Yes, they are silent. Yes, they have primitive special effects. But the photography is often gorgeous, the acting can be superb, the production values sometimes rise to equal the best of the modern films, and some of the old directors could mold a really fine product. Die Nibelungen is one of the best I have seen.

A mythical icon.......2004-06-20

With this movie Fritz Lang show once more why the movies can be a genuine proof of art in its purest expression.
Think just fifty years before when Wagner built Bayreuth for showing us all his works.
And the most powerful of them , the quintessential of the set was precisely The Ring .
Lang made a sublime adaptation of this work . 1924 was the year of this landmark picture.
Inspired in the powerful mythologic essence , Lang keeps the expressiveness, the force and the soul of this legend.
Believe or not , but I've always thought that you never will be capable to appreciate in his wholeness Metropolis , if you are not involved by the mythical spirit of this film.
A must for all the viewers really interested not only in the cinema evolution , but in the soul of the art.

Fritz Lang Epic Collection (Metropolis/Die Nibelungen/Woman in the Moon/Spies)

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A great collection of early Lang films restored with care
First review!

Fritz Lang Epic Collection (Metropolis/Die Nibelungen/Woman in the Moon/Spies)
Starring: Rudolf Klein-Rogge , Gerda Maurus , Lien Deyers , Louis Ralph , and Craighall Sherry
Director: Fritz Lang
Manufacturer: Kino Video
ProductGroup: DVD
Binding: DVD

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ASIN: B00064AEWO
Release Date: 2004-11-09

Customer Reviews:

A great collection of early Lang films restored with care.......2007-06-22

Fritz Lang always claimed he was a very visual person, and this collection of four movies from the silent era proves it. I'll go through each film individually:

Metropolis - This film is considered by many to be the first feature science fiction film. Ironically, this film, now considered a masterpiece, contributed to the bankruptcy of the studio that backed it. The film has great visual effects and huge sets that still impress today. The film ran so long that it was progressively cut back, and with each succeeding cut it became less coherent. The version on this DVD is still missing about 25% of the original footage, which is probably lost forever. However, using the novel and other sources, the missing scenes have been described on intertitle cards. These added descriptions make the plot clearer by filling in the holes. The story of Metropolis has society divided into two groups, those that toil beneath the city and those that live off of the fruits of their toil above. The extra features include:
1. A 43 minute documentary entitled "Metropolis Case" which has film historian Enno Patalas discussing the film's place in history. The featurette is filled with production shots and includes some vintage interviews with those who worked on the film.
2.A commentary track also done by Enno Patalas.
3.A nine minute featurette on the restoration of the film, several still galleries, cast and crew biographies and some text pages about the film.

Die Nibelungen - This epic film is based on a thirteenth century Nordic saga and includes a fire breathing dragon, treacherous dwarfs, magic swords, and barbarian attacks. The film is five hours in length and is split into two parts. Like Metropolis, this film has some terrific special effects. It is oversimplifying matters to say that if you liked "Lord of the Rings" you'll like this film, but it is probably true. The special features include:
1. "On the set with Fritz Lang" which is an excerpt from a German short. It shows Lang working at Ufa Studios and filming a scene.
2. A five minute reel of production sketches intercut with scenes of the finished product from the movie.
3. "Slaying the Dragon" contains information about the most memorable scene in the movie and includes the original production design, a photo of Lang filming the sequence, the sequence itself, and a similar scene from Douglas Fairbank's "Thief of Baghdad", released the same year, where that star fights a dragon too.
4. Behind the scenes photos with captions.
5. "About the Master", which is a text piece detailing the origin of the master and the lack of tinting on the print.

Spies - This is a suspense/action film that uses sparsely decorated sets compared to the visual feasts of the previously described two films. This film has been circulating in an 89 minute version, but Kino has restored it to 143 minutes in length. The plot involves the head of a large bank, Haghi, who has an elaborate and thorough network of spies. Haghi has stolen secret documents, had people killed, and generally has the British Secret Service running in circles. The government retaliates by putting Number 326, their best spy, on the case, Haghi is wise to the plan, and responds by assigning his best agent, the Russian Sonja to seduce him. However, things get complicated when she and 326 fall in love. The extra features for this film are an image gallery of production photos, advertising for the film itself, and a trailer for the 2002 reissue of Metropolis.

Woman in the Moon - This was Fritz Lang's last silent film. It is a science fiction adventure in which a scientist, Professor Georg Manfeldt, had theorized that there were large supplies of gold on the moon. He was ridiculed by his peers and disgraced because of this. However, a wealthy industrialist believes Manfeldt's theory and has been building a rocket to travel to the moon. when a group of wealthy men who control the world's gold supply feel threatened by the possibility the theory may be correct, they threaten to destroy the rocket unless one of their agents, Turner, is allowed to go on the expedition too. Apparently Lang's film got so much right about space travel that the Germans seized the models used in the film as state secrets when they started their own rocket-building program. This film runs 169 minutes and is quite slow in places. It has some very interesting and thrilling scenes, but it is probably the weakest of the four films in the set. The only extra feature is a photo gallery of production stills and promotional material.

Kino, as always, has done a great job of restoring these early films, and I highly recommend the set for anyone interested in early German cinema or in the works of Fritz Lang. This set may seem expensive compared to those public domain copies of some of these films that are in circulation, but particularly in the arena of silent film you truly get what you pay for.

First review!.......2005-01-06

If you have doubts, this DVD collection contains the same DVDs as the special restored editions that are sold individually. Metropolis and Die Nibelungen are the two stand-out titles here. Metropolis had the most work spent on it, so much so that it often looks as if it were filmed yesterday in B+W. Honestly, it's amazing how good it looks. The score was completely rerecorded and it sounds amazing. Instead of just random music played in the background, it conveys the emotions occurring in the film. It and Die Nibelungen contain various extras that are actually interesting. The other films have also been restored well. Long story short, you have a better idea of whether you will like these films or not, but if you have any questions as to their quality, extras, etc. have no fear these are the special edition discs and they look great.

Wagner - Der Ring des Nibelungen (Ring Cycle) / de Billy, Gran Teatre del Liceu (Barcelona Opera)

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Wagner - Der Ring des Nibelungen (Ring Cycle) / de Billy, Gran Teatre del Liceu (Barcelona Opera)
Starring: Bertrand de Billy , Harry Kupfer , Falk Struckmann , Deborah Polaski , and Graham Clark
Manufacturer: BBC / Opus Arte
ProductGroup: DVD
Binding: DVD

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Wagner - Der Ring Des Nibelungen / Gambill, Denoke, Rootering, West, Gasteen, DeVol, Bonnema, Zagrosek, Stuttgart Opera
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Wagner - Der Ring des Nibelungen / Pierre Boulez, Bayreuth Opera (Complete Ring Cycle, Parts 1-4)

ASIN: B000IFRPY6
Release Date: 2006-11-21

Amazon.com

This 11-DVD set documents the 2004 staging of Wagner's Ring cycle at Barcelona's beautiful Gran Teatre del Liceu, a production first seen at the Deutsche Staatsoper Berlin. The producer, eminent Wagnerian Harry Kupfer, sees the cycle as a parable of man's destructive greed and Nature ravaged by man's technology. Kupfer's vision is realized in the stark, semi-abstract sets and direction. The World ash-tree from which the god Wotan wrenches the spear that symbolizes his mastery of the world dominates the stage picture in the early operas, withering in the later ones. Kupfer uses the theatre's advanced stage machinery to effortlessly move among the Valhalla of the gods, the earth, and the Nibelung's underworld realm. A grid screen backdrop changes to suit the action, with projections and Franz Peter David's lighting reflecting off the mirror-like stage surface. So the bridge the gods traverse to reach their new castle in Valhalla in Das Rheingold is indicated here by vertical lights on the backdrop, while the ring of fire that protects the sleeping Brunnhilde on her mountaintop in Die Walküre is accomplished by red bands of light whose glow is reflected onto the stage itself.

In Siegfried and Götterdämmerung the sets become more industrial-looking, with forests of pipes, a propeller-like object at center stage, and other symbolic elements that make Kupfer's connection with his theme of rampant technology. Costume designer Reinhard Heinrich clothes the singers in nondescript, non-specific garb for the most part, although the Gibichung siblings of Götterdämmerung seem dressed for a 1930s cocktail party. The bad guys tend to favor black raincoats and jackets, the giants in outfits reminiscent of those of hockey goalies. The ring itself is a large, brass-knuckle affair that can be seen from the top balcony. Most of the time sets, costumes, and lighting design make a positive impact, most impressively in the final scene of Götterdämmerung, which packs visual and emotional punch. Sometimes, though, the filming itself fails to do justice to the staging, making the screen murky, at times ill-focused.

Customer Reviews:

Twilight Of Wagner's Masterpiece: A Classic Butchered .......2006-03-21

ABOUT THIS DVD: Wagner: Der Ring Des Nibelungen Director Pierre Chareau, Conductor Pierre Boulez Centennial Bayreuth Opera production. CAST: Manfred Jung (tenor, Siegfried) Gwyneth Jones (soprano, Brunhilde) Fritz Hubner ( bass, Hagen) Franz Masura (bass, Gibechung) Jeanne Altmeyer (mezzo soprano, Gutrune) Gwendolyn Killebrew (soprano, Waltraud) ....Four Operas..Das Rheingold, Die Walkure, Siegfried and Gotterdammerung.

I have never given a 1-star rating to anything before but after watching director Patrice Chereau' Centennial production of Wagner's Gotterdammerung at the Bayreuth Opera (filmed in the 80's)I have to. This is by no means the best Gotterdammerung nor the way the opera should be staged or represented. While I'm sure there are worse productions (Peter Sellers is another abstract, post-modern nut job of an opera director)which probably have the Gibechung giants become Nazis or have even more minimalist staging "nothing" production values, this opera is weak and ineffective and downright boring. The three operas that lead up to this climatic final opera - Rhinegold, Walkure and Siegfried- are also lackluster and full of the same unorthodox, unconventional and terrible production elements. The general theme seems to be (and this is my personal theory) that the 19th century "look" of this production represents the time that Wagner composed this opera and the people of that century he was writing for. His message to them at the time was that it was imperative that Germany be unified into an Empire. By honoring the noble heroes and heroines of old Germanic myth, the greatest being this one drawn from the Volsung and Nibelung saga, he was urgently calling for heroism and zealous patriotism in 19th century Germany. But at the same time, this production seems to be suggesting that the explosive Industrial Revolution and rapid modernization of the late 19th century was killing old, more human values and alienating humans from one another, and worse, igniting greed and lust for power. It's not that I don't understand Boulez or his concept of the Ring, but it is not to my liking and it was the first time I have ever seen the Ring operas. Living in the desert that is California, I have no access to opera and least of all not traditional Wagner opera productions. In Wagner's time, the Ring operas that were staged at Bayreuth followed Wagner's original instructions as written. This is an old Norse/Viking saga and we are dealing with mythical beings - the King of the Gods, Wotan, his wife the frigid goddess Freya, the human lovers Siegmund and Sieglende Wotan's daughter the Valkyre and later ex-Valkyrie daughter Brunnhilde, the heroic semi-god/human hero Siegfried, and nasty dwarfs like Albrecht, Giants Fafner and Falsolt and the Gibechung and Nibelung race of giants. There is a rainbrow bridge that leads to the palatial home of the Gods Valhalla, a beautiful and eternally flowing river called the Rhine and beautiful sirens called the Rhinemaidens. In Siegfried, there is even a Talking Bird-Woman and a powerful fire-breathing dragon. You do not see any of them in this production. Since the fall of the Third Reich at the end of World War II, namely throughout the decade of the 50's, strange, modern, abstract designs appeared in Wagner opera productions. Wieland Wagner, the last member of the Wagner family, introduced bold new ideas to Bayreuth. The only good thing about his involvement with Bayreuth was that through him ethnic singers like African-American opera diva Grace Bumbry were able to sing at Bayreuth when prior to that only white/European singers sang there. Wieland Wagner welcomed modern stage productions and would have surely enjoyed Boulez' version. But not me.

Director Pierre Chereau and Conductor Pierre Boulez has changed everything to suit his directorial concept. Leave it to two Frenchies to destroy Wagner's masterpiece. Instead of rich, colorful, evocative Romantic/Nordic imagery, we have low lighting and a lot of darkness, minimal set design, a 19th century time period (and that I can tell from the costumes)and the few edifices we see are 19th century architecture. What the heck is this all about ? The worst part is that eventhough they are singing the libretto as written (i.e. Brunhilde summons her flying horse Grane.."Grane Meine Ross! during the Immolation Scene...and orders the Gibechungs to erect Siegfried's funeral pyre.."Starke Scheite"..) we do not see any of the things they are singing about. It is not as minimalist as some other operas but it is still far too modern for my tastes. As such, this particular production is suited for lovers of modern concept operas. But all I'm saying is that Wagner's Ring Des Nibelungen should not look like this and the better ones are always the ones that stick to the original concept by Wagner.

As for the singers, I like Manfred Jung's Siegfried. Blonde, handsome and noble, he epitomizes the Wagnerian hero even if the music for Siegfried taxes him to the point he is out of breath. Singing Siegfried is not easy and Jung is considerably underpowered next to the more striking Siegfrieds sung by tenors Wolfgang Windgassen, Jon Vickers and James King. He is more like Wagnerian tenor Rene Kollo, a strong lyric tenor with some dramatic abilities but not really enough to carry Wagner's music well and cut through large-scale orchestras. Fritz Hubner and Franz Masura are superb villains Hagen and Gibechung. They have secure, strong Wagnerian baritone-bass voices and are perhaps the only good singers in the cast, which is ultimately very disappointing and sad because the two most powerful singers in this opera should be the tenor and soprano in the roles of Siegfried and Brunhilde. Dame Gwyneth Jones' Brunhilde was hailed by critics as a great performance, not just in this production but in others. Why that is, I don't know. I don't really care for her voice. It's an unsteady, blowzy, grating soprano voice and to me, it doesn't feel right for Brunhilde. She is of course no Birgit Nilsson or Astrid Varnay, who vocally capture the true spirit of Brunhilde's character and Wagner's music for the character, and granted Gwyneth Jones is better than the light voice of Hildegard Behrens, but she is not singing Brunhilde correctly. Gwyneth Jones sang several Wagnerian heroines (Elisabeth in Tannhauser, Isolde, Senta)and she was considered to be a fine Wagnerian soprano by many but let's face it. That voice is not properly placed, the vibrato is far too wide, and she seems very nervous when she sings. I have heard her both in recordings and in video/DVD and at certain parts her voice cracks under pressure. The Immolation Scene is God-awful. Wearing a plain white gown with long elbow sleeves, and ranting and raving in that unsteady and shaky, awful voice of hers, it is the worst I've ever seen or heard. She makes it look more like a Mad Scene than anything else. At the end of this opera, the world is supposed to end, destroyed by fire and water, and Valhalla is supposed to be consumed by flames. But insstead we see a pillar of fire into which Brunhilde leaps into, and dry ice/smoke. A group of people in 19th century clothes stand around with silent and unfeeling expressions. It's unbelievably awful.

It's Comming Back!.......2005-06-12

It is interesting to note that Deutsche Grammophon will be

issuing this DVD set on it's label within the next few months.

This production was considered quite "different" when it was

first shown back in the late 1970's. I personally found it hard

to watch at first. Once I got used to it I found that Patrice

Chereau and Pierre Boulez et al, had put together one of the

most moving productions of the "Ring" ever. Is this set better

than the Levine, MET DVD set? perhaps not. Better than some of

newer ones on the market? Without a doubt!! This DVD set makes

Wagners Ring Cycle a bit more relevant to us and is timeless.

Now if only Decca could see fit to re-release the Boulez,

Bayreuth CD set at midprice, as DG did with the Levine,MET CD

set.

One of the best opera dvds.......2004-07-19

Can't make any detailed analysis. But I'd say that it's one of the very best dvds that I've come across. Even if I'm not a very devoted opera fan, the drama and the intensity of the acting and singing pulls me into its world. Doubtlessly an important document of a major operatic event.

Won over by it.......2004-04-30

I agree with most of Brian Hay's assessment of this dvd production. Nevertheless, I've perhaps derived even more pleasure from it, as it has completely changed my previous perception about opera as a fossilised art form. Both the singing and acting are great, and the drama, though a little odd at times, holds together very well. I can't dwell in depth about the technicalities of the singing and conducting, but suffice to say that I'm completely won over by it!

A Ring Cycle for the Ages.......2004-04-14

At this writing this edition is out of stock. I only hope it isn't out of print. That would be a crime.

Traditionalists won't like this thought, but it seems any "setting" for a staging of the Ring Cycle is secondary to the point of the drama, even if Wagner himself specified otherwise. His musical odyssey about the mighty trapped by their own devices and the devastating effect it has on everything around them has always been relevant. Wotan's tale of being trapped by contracts could be easily be the story of the dilemma faced by any world leader. The idea that Patrice Chéreau's staging lent an anti-capitalist spin to the cycle doesn't hold up. That was always part of the story. Capitalism is just one of many names for systematic greed that leads to rulers and societies destroying themselves from within. Those themes permeate the text of the Ring and are well served by any staging that tells the story well.

Boulez' interpretation is very light but it serves the music well. That's not to say the thunder is gone; it's not. If anything the thunder seems louder. Wagner's scores are alive with subtle nuances of expression. The brisk tempo Boulez used makes those subtleties sparkle, a touch which gives more radiance to the piece as a whole. Because of that those infamous "dull quarter hours" are fewer and farther between.

It (apparently) wasn't his intent but Wagner established the formula Hollywood uses for leaving stories open ended enough to produce sequels. Ring I (Das Rheingold) closes with the major players fighting over the money. There are a few illegitimate kids running around to throw wrenches in the works too. Ring II outstrips the first episode and gets a glorious title. Die Walküre recaps the first production, ties up loose threads and creates new ones for a new chapter. Son of Siegmund (Siegfried) carries out all the standard sequel chores and proves that incest produces morons. Gwyneth Jones reminds viewers that aging beauties don't always look great in the morning. (Jones is splendid so don't take that comment too seriously.) The piece ends on a happy note but with enough loose ends for another four hours. Ring IV: The Final Chapter (Götterdämmerung) ties up those threads without creating news ones and ends in a blaze of glory. It also teaches the lesson Hollywood didn't learn; get out while you're on top. Anyone staging this has to has to work around these things. That means doing an effective enough job of it to suspend the viewers' belief for a while. That's no small task. Chéreau's staging won't be perfect for anybody. No staging could be with a work of this scope. His vision is very effective though. The costuming leans toward the nineteenth century but is in a state of decay. With a few exceptions the suits, though of fine quality, look as if they haven't been pressed, cleaned or mended since about the time of ancient Egypt. Much of the set is cast in the same mould. The home of the Rhine Maidens is a sewer. Valhalla is crumbling and Hunding's people look like concentration camp victims. But that's fine. That decay is the price of greed, and the Ring is about greed and it's consequences.

The cast is fabulous. There are too many to name all of them but a few warrant mention. Not enough can be said about Donald McIntyre in the role of Wotan. The character has to be proud, sympathetic, just and unjust all at once. McIntyre brings this off well. His rage is fearsome yet his love for his errant child melts the heart. Manfred Jung captures all there is of Siegfried. He's especially good portraying the true nature of Siegfried's bravery-he's too dumb to be afraid. Franz Hübner is as loathsome a Hagen as there could ever be. The slime is just about oozing out of him. Peter Hofmann and Jeanine Altmeyer are wonderful as the twins. The passion in their singing makes their situation a sympathetic one despite the crime of their union. Heinz Zednik steals the scene wherever he appears, be it as Loge or Mime. As Mime he's hilarious. This man could probably have an alternate career in film. He developed a set of mannerisms for "Mime" and maintains them consistently throughout his time on stage. As well, he has great comic timing. That's something that can't be taught. Then there's the lady who (to my mind) dominates this production. It's true that Gwyneth Jones wasn't young when this was filmed and there are times when harsh lighting displays it. Still, age or no, she is a beautiful lady. And she can act and she can sing. Can she ever sing! She combines control with unbridled passion in a way most can only dream about. In the end it's hard to imagine a better Brünnhilde. She is magnificent!

Picture quality is good. For television it was the best of it's time and it holds up well. The sound is even better. The old analog recordings weren't as clean but they have a more lifelike sound than digital recordings. That's particularly noticeable with the brass and the bass instruments from the string sections. The re-mastering of this edition serves those qualities well.

The only complaint I have is that the individual works should be available as such instead of just as a set. Each drama is a self contained story and can be enjoyed as such. Offering them separately might create a wider range of interest in the Cycle. Given its quality and importance that could only be a plus.

DVD:

DVD

DVD

DVD

Forbidden / Bliss - Sex, Lies, and Television / Red Shoe Diaries - The Movie (3 Pack)

Fast Times at Ridgemont High/Dazed and Confused

Rambo: First Blood Part II [1985] (REGION 1) (NTSC)

DVD: Deliberate Intent

Miracle On 34th Street