Twilight of the Gods
CHAN 3060
The Sunday Telegraph

'Sir Reginald Goodall sets a stately pace but it always sounds natural, and the light-textured instrumental detail provides one of the joys of listening to this performance. It was Goodall, too, in collaboration with the producer Glen Byam Shaw, who set the stamp of nobility on the characters... one is bound to ask oneself if there has been, post-war, a more lyrical and musical Siegfried than Albert Remedios... (his) banter with the Rhinemaidens, his hunting party narration and his aria after he has been wounded are all examples of singing that is bel canto in quality...

Rita Hunter's Brünnhilde, a truly great portrayal, reached an apotheosis in this opera...'
Recorded live at the London Coliseum
6, 13 and 27 August 1977

Producer - John Mordler
Sound engineers - Robert Gooch and Stuart Eltham
Third Day of the Festival Play:
The Ring of the Nibelung
Music drama in a prelude and three acts
Poem by Richard Wagner
English translation by Andrew Porter
The Cast

Alberto Remedios, tenor - Siegfried
Norman Welsby, baritone - Gunther
Aage Haugland, bass - Hagen
Derek Hammond-Stroud, baritone - Alberich
Rita Hunter, soprano - Brünnhilde
Margaret Curphey, soprano - Gutrune
Katherine Pring, mezzo-soprano - Waltraute

Norns
Anne Collins, contralto - First Norn
Gillian Knight, mezzo-soprano - Second Norn
Anne Evans, soprano - Third Norne

Rhinemaidens
Valerie Masterson, soprano - Woglinde
Shelagh Squires, mezzo-soprano - Wellgunde
Helen Attfield, contralto - Flosshilde

English National Opera Chorus - Vassals and Women
English National Opera Orchestra

Reginald Goodall - conductor
Gramophone
‘Hunter and Remedios excel themselves as a more heroic than tragic pair, their singing steady, keen with words and very much in character following so many performances, by 1977, of the complete cycle. The recently departed Aage Haugland offers a welcome souvenir of his career as a louring Hagen... Welsby uncovers the right touches of weak will for Gunther while Curphey is suitably alluring as sister Gutrune. Pring offers an appropriately urgent and strongly sung Waltraute. The Norns could hardly be more strongly cast. By and large, the playing of the ENO Orchestra is of an equally consistent nature, responding to Goodall's long-breathed conducting with playing of beauty and strength adding up to a formidable traversal of the score. The recording, masterminded by John Mordler, need not fear comparison with anything more recent. Indeed the absence of unwanted reverberation and excessive sound effects is most welcome. What we get is the music unvarnished and truthful, for which many thanks again to the foresight of the ENO directors of the day and to Peter Moores for providing the wherewithal to execute it.’
International Record Review
'... it is safe to say that the performance, from the opening surprisingly trim chord to the last long-held one is consistently, incredibly, inspired.'