. . . [tenor Jay Hunter Morris] inhabits his character so completely that his precise, moment-to-moment reactions to other characters (more apparent on screen than in the house) help sustain long scenes in which past plot events are recapped . . . [Die Walküre]: Tenor Jonas Kaufmann is a magnetic Siegmund . . . [Sieglinde, Eva-Maria Westbroek] is theatrically entrancing. Terfel's singing is so godlike . . . [Siegfried]: the stage apparatus is at its most atmospheric here, and Morris' . . . Siegfried is the best-acted on video; likewise Terfel's Wotan . . . [Götterdämmerung]: Brünnhilde (Voigt) is visited by her sister Waltraute -- sung by the great Wagnerian mezzo-soprano Waltraud Meier, who knocks the operatic tension up a big notch . . . Voigt maintains the tension throughout Act II. Morris' Act III death scene is utterly mesmerizing . . .

. . . [Owens' Alberich] arguably owned this production of "Rheingold". He put forth a dazzling effort both vocally and theatrically and virtually stole the show. The life force of this production was strong when he bristled and snarled on stage . . . It's a colossal effort, both vocally and theatrically. His attention to Alberich's character gives this Ring Cycle the vital, up-front propulsion it needs to be a full-blown success . . . The remaining cast of "Rheingold" sings quite beautifully, with Bryn Terfel (Wotan) in particular standing out. But the rest of the cast does nearly as well . . . you get to see the liveliness and immediacy of the staging and you get to evaluate and, hopefully, enjoy the quality of the singing where you are, to the best of your ability, sitting in optimal seats that capture the hall's best audio . . . You get to see a lot of the detail that even guys with expensive seats and powerful opera glasses just can't make out . . . The orchestra, under James Levine, sounded terrific--full, rich, and romantic . . . performed this massive score, alternating subtlety with brilliance, contemplation with passion, not only doing complete justice to Wagner's score but helping bring out the best from the opera's soloists as well . . . [Brünnhilde (Deborah Voigt)] emerges front and center as the real heroine of the Ring . . . there was a sincerity and passion in her delivery . . . More affecting still from a sheerly emotional point of view, was the inspired pairing of Jonas Kaufmann and Eva-Maria Westbroek as Wotan's tragic twin children. It's here for the first time in this cycle, that we saw and heard real chemistry between a pair of leads. Impetuous and spot on in both character and vocal skill, Mr. Kaufmann was a marvelously complex and sympathetic Siegmund, unveiling a voice of uncommon nuance and dexterity, able to navigate Wagner's lengthy phrases with a superb legato buttressed by exquisite phrasing. Ms. Westbroek's Sieglinde matched him perfectly, with a robust and passionate instrument that burst into glory . . . Mr. Kaufmann and Ms. Westbroek possessed such skills many times over in this highly affecting performance . . . both Mr. Terfel and Ms. Voigt kicked into high gear in "Walküre's" literal cliffhanger finale . . . Mr. Terfel's Wotan was able, at last, to fully embody the conflicted chief god that his character has become . . .

James Levine's conducting of "Das Rheingold" and "Die Walküre" is magnificent . . . the orchestral playing [in "Siegfried" and "Götterdämmerung"] glorious throughout. Bryn Terfel commands the role of Wotan authoritatively . . . [a "Ring"] with superb sound and picture quality.

This huge Met production of The Ring is fascinating in many ways . . . There are some unique effects, particularly when each valkyries "rides" a moving plank representing a horse, and later slides down the ramp . . . The background planks often are moving, and it is impressive to watch their changing configuration . . . The Met performances are sterling with superb over-all casting. Jonas Kaufmann is an ideal Siegmund and it always is a pleasure to watch him perform; he is fearless and has the power for this heroic role. Eric Owen is a definitive Alberich, Hans-Peter König powerful as Hunding, Fafner and Hagen. Eva-Maria Westbroek is a convincing Sieglinde, Stephanie Blythe almost a force of nature as Fricka . . . Deborah Voight, in excellent form as Brünnhilde, dramatically is outstanding. Waldtraud Meier, herself one of the great Wagnerian sopranos of our time, is magnificent as Waltraud. The Rhine maidens and Norns are perfect -- what a pleasure it is to have these roles sung by sopranos who look their parts . . . Morris is outstanding in this most difficult of all tenor roles, a fine actor as well. Of course the Met Orchestra is magnificent, particularly in the first two operas conducted by James Levine. Surely all lovers of Wagner will wish to view this unique Ring . . . there are some amazing moments . . . An outstanding performance of Wagner's Ring is a rare thing, and this is one of them . . .

. . . the musical side is so strong . . . the principals are superb . . . Bryn Terfel [displays] commanding tone and rough-hewn sensitivity. Deborah Voigt's Brünnhilde is attractively lyrical. Jay Hunter Morris's stand-in Siegfried is a discovery, a handsome, extrovert giant. His tone is sinewy and adequate . . . Jonas Kaufmann and Eva-Maria Westbroeck are superb Volsungs . . . [Stephanie Blythe]: a superb Fricka . . . Fabio Luisi's readings are smoothly powerful . . .

. . . [this "Ring" is] a rather good one . . . the lighting and video designs come to life beautifully . . . Bryn Terfel's Wotan is one to set down and keep . . . He brings bel canto phrasing and beautiful style to the role, and is one of the most convincing I've heard (or seen) . . . Stephanie Blythe is also a commanding Fricka, big in voice and in stage presence . . . Jonas Kaufmann and Eva-Maria Westbroek are at their finest as the Wälsung twins. In fact, theirs are probably the standout performances of the whole set . . . [they both] create humane performances that are profoundly moving . . . Eric Owens is an exhilarating Alberich, baleful and dark . . . Siegel's Mime is bright and compelling, sung with marvellous clarity, and Franz-Josef Selig is a commanding Fasolt . . . [Hans-Peter König] is wonderful, climaxing in a fantastically black Hagen. Iain Paterson is a great Gunther, full of lyricism and beauty . . . and Wendy Bryn Harmer is beautifully lyrical as both Freia and Gutrune. Mojca Erdmann is a delightful Woodbird, and Waltraud Meier brings her acres of experience to produce an all but perfect Waltraute . . . The most remarkable thing is how youthful and urgent Levine's conducting still sounds. His "Rheingold" is excitingly dramatic, and there is sensational bite to the preludes of all three acts of "Walküre". He also shows an unfailing ability to judge the great span of Wagner's paragraphs in a way I found very convincing . . . the Met Orchestra is on sensational form, and they are captured in fantastic HD sound, which is brilliantly mastered . . . [this broadly traditional, mythical "Ring"] is definitely worth exploring . . .

The cast is, as you would expect from the Met, very strong. Bryn Terfel gives us his tough and scheming Wotan . . . [and he is] very impressive as the Wanderer in "Siegfried" . . . [Deborah Voigt] has great stage presence and dominates every scene she is in, and her ringing and tireless soprano reminded me of Nilsson . . . [Jay Hunter Morris as Siegfried] looks the part: proud and confident . . . His voice is bright and clear and he seems tireless . . . Of the other parts the obvious front runner is Jonas Kaufmann as Siegmund, making another debut in role. He is completely inside it: noble, heroic and doomed . . . Not only is the cast strong, but they work well together . . . The orchestra know their Wagner and respond with a will . . . Both the picture and the sound are excellent . . . overall, it is a very satisfying production and I commend it to those who want a traditional "Ring" but with imaginative staging.

Bryn Terfel gives us his tough and scheming Wotan . . . very impressive as the Wanderer in "Siegfried" . . . [Deborah Voigt] has great stage presence and dominates every scene she is in, and her ringing and tireless soprano reminded me of Nilsson . . . [Jay Hunter Morris as Siegfried]: I was very impressed by him . . . Jonas Kaufmann as Siegmund, making another debut in role. He is completely inside it: noble, heroic and doomed . . . I want to praise in particular the excellent trio of Rhinemaidens . . . I was very impressed by the sizzling of the strings in the fiery passages, and by some of the wind soloists, such as the cor anglais, the bass clarinet and the bass trumpet . . . it is a very satisfying production and I commend it to those who want a traditional "Ring" but with imaginative staging.

'Wagner's Dream' gefällt mit geschmeidigem Schnitttempo, bedächtig in diskursiven Passagen, andernorts dynamisch. Der Soundtrack mit 'Ring'-Schnipseln ist zweckmäßig und unaufdringlich gestaltet . . . Froemke und Eisenhardt haben das Ganze der Produktion unterhaltsam und lehrreich ins Bild gesetzt.

. . . [James Levine]: Dem "Rheingold" gibt er . . . abendlichen Glanz und weltweise Melancholie, weiß es aber auch an den richtigen Stellen auftrumpfen zu lassen. In der "Walküre" badet er noch einmal im Schönklang, kann aber ebenso die dramatische Pranke ballen. Mit dem traumschön folgenden Met-Orchester lässt er dramatische Wahrheit aus Wohlklang entstehen, mit weichwehmütig tönenden Holzbläsern und abgedunkeltem Blech. Besonders anrührend gelingen die weltschmerzlichen Erzählpassagen. Wotans Abschied und der Feuerzauber haben dunkel sich verzehrende Intensität, die von ihm über vier Jahrzehnte geformten Musiker scheinen wie von selbst als vollendetes Instrument zu spielen . . . vor allem Heinz Peter König ist eindrucksvoll als Fafner, Hunding und Hagen . . . Was sich mit Nuancen vermitteln lässt zeigt . . . Waltraud Meier als dringliche Waltraute . . . Zwei souveräne Sieger gibt es: Bryn Terfels kantig knarrenden, nun endlich auch um den Wanderer komplettierten Wotan, der vor seiner geliebten Tochter Brünnhilde vokal ganz zahm wird, herrlich textklar und als Figur großartig gebrochen im Abschied von seiner Wunschmaid. Allein dass diese Glanzleistung festgehalten wurde, lohnt schon diese "Ring"-Aufzeichnung. Ebenso Jonas Kaufmanns Siegmund [ist eine Erfüllung] . . . Die Nebenrollen, Ian Patersons plastischer Gunter, Wendy Bryn Harmer als edelstimmige Freia wie Gutrune, Patricia Bardon als schlanke, pathoslose Erda, Rheintöchter, Walküren, Nornen und anderes Getier sind exzellent besetzt, wie man es von der Met erwartet . . .

. . . beeindruckend . . . Auf dieser faszinierenden Bühne stehen fast ausnahmslos hervorragende Sänger. Bryn Terfel (Woran/Wanderer) mit seiner vielschichtigen, metallischen Stimme besticht durch starke Bühnenpräsenz und schauspielerisches Geschick. Stephanie Blythe (Fricka) mit großem, voluminösem Sopran singt ihre Partie mit augenscheinlicher Leichtigkeit, ebenso wie Jay Hunter Morris (Siegfried), dessen strahlend klarer Tenor im Stimmumfang keine Begrenzungen zu kennen scheint . . . Absolut souverän zeigen sich auch Gerhard Siegel (Mime) und Eric Owens (Alberich), der eine mit facettenreichem Tenor, der andere mit mystischer Tiefe. Eva-Maria Westbroek (Sieglinde) und Jonas Kaufmann (Siegmund) bilden ein wunderbares Paar; ihr heller Sopran und sein klangvoller, nasaler Tenor ergänzen sich perfekt. Klar und leuchtend warm hebt sich die Stimme von Wendy Bryn Harmer (Freia, Gutrune) vom Umfeld ab. Hans-Peter König (Fafner, Hagen) glänzt mit seinem warmen, volltönenden Bass . . . [Deborah Voigt läuft] in der "Götterdämmerung" zur Höchstform auf . . . zum Schluss brennt sie ein Feuerwerk ab, und ihre schauspielerische Leistung lässt den ganzen Zyklus hindurch nichts zu wünschen übrig. Das Orchester der Metropolitan Opera präsentiert sich auf höchstem Niveau . . . Die Einspieltechnik ist hervorragend; digitaler 5.1-Sound und HD-Bildqualität ermöglichen eine unverfälschte, klare Wiedergabe. So zeigt sich nicht nur in der Inszenierung der neueste Stand der Technik . . . insgesamt bietet die Produktion eine fantastische Umsetzung des Wagner-Epos in realistischen und abstrakten Bildern mit ungeahnter Flexibilität und überraschenden Ansichten. Sie ist höchst modern, aber nicht avantgardistisch; höchst technisiert und detailreich, aber ohne Schnickschnack; höchst suggestiv, aber nicht bevormundend. Kurz gesagt: äußerst gelungen!

Allein Bryn Terfels Wotan lohnt das Ganze, denn der Waliser ist in Stimme, Gestalt und Spiel ein Naturereignis. Wie er etwa zu Beginn des dritten Akts "Walküre" wild wütet, um danach desto zärtlicher Abschied von Brünnhilde zu nehmen, lässt alles um ihn herum vergessen. Und selbst Deborah Voigt, deren erste Brünnhilde stimmlich durchaus beeindruckend ist . . . wächst da über sich hinaus. Und James Levine schwelgt in den Extremen: mal peitscht er die Musik in luxuriösem Sound mit schneidenden Akzenten voran, mal lässt er sie wunderbar strömen.

. . . un couple de jumeaux anthologique, Eva-Maria Westbroek et Jonas Kaufmann -- sans rire, on n'a pas entendu mieux depuis King et Rysanek: à genoux! . . . le Wotan de Bryn Terfel entre luis aussi dans la légende avec ses divines rondeurs, son galbe irrésistible, son parfait mélange d'autorité et de dérision. Que ce soit la Fricka torrentielle de Stephanie Blythe . . . les Gibichungen impeccables . . . l'Alberich rocailleux d'Eric Owens, le Loge venimeux de Richard Croft: tous n'appellent que des éloges. Pas de doute, à New York, les distributions, on sait faire! Dans la fosse, à James Levine ("Or du Rhin" et "Walkyrie"), succède Fabio Luisi (la suite), tous les deux sur les plus hautes sphères . . . le premier soignant davantage l'architecture, l'ample respiration, le second recherchant plutôt la nervure du drame. Excellent bonus: un documentaire de deux heures . . . Passionnant . . .

Le grand oeuvre de Levine au Met? . . . Un "Parsifal" à Bayreuth en 1982 l'annoncait, le "Ring" new­-yorkais de la fin des années 1980, fresque noire, drame éclatant porté par un "cast" étonnant (Norman en Sieglinde!), le confirme.