Tim Ashley 

Wagner: Die Walküre, Act I – review

Ain Anger's Hunding provides the highlight in an urgent account of Wagner, writes Tim Ashley
  
  


The first act of Die Walküre is among the most frequently performed fragments from Wagner's Ring. Taped live in Vienna in 2007, this latest version adds Franz Welser-Möst's name to the distinguished list of conductors – from Bruno Walter to Otto Klemperer – who have recorded it separately. Once past a curiously low-key account of the opening storm, Welser-Möst settles into an urgent if lyrical reading, capped by a sensual account of the great love scene. Johan Botha is the ardent if lightweight Siegmund, Nina Stemme his neurotic-sounding, declamatory Sieglinde. The real vocal honours, though, go to Ain Anger's superbly characterised Hunding – no bully boy, but a man who masks possessive resentment beneath a chilling mask of politeness. Along with his performance in Tannhäuser at this year's Proms, it marks him out as one of the great Wagner basses of our time.

 

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