Boring

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

I vastly enjoyed all the productions of the 1980 Chereau-Boulez Ring Cycle. It does have have parts that may be seen as controversial, such as the staging approach and Manfred Jung(not ideal but better than expected I thought actually) though. Die Walkure was my personal favourite of these four performances. The costumes and sets have a more realistic approach than other productions I've seen such as the 1990 Met production going for the traditional approach, but I found it somewhat refreshing. The colour has more clarity than the other productions in their transfers, and the video and sound quality are well above acceptable as well. Wagner's music is so monumental, especially Wotan's Farewell, and not only is the orchestral playing lush and powerful throughout even in the strenuous loud moments of the big climax and the Walkurenritt and Pierre Boulez's conducting doesn't rush or drag. The performances are without any real weak link. Peter Hoffmann is a heroic and wholly believable Siegmund, much more attractive in voice and interesting in character than Jung as Siegfried. Jeannine Altmeyer is an often heartbreaking Sieglinde, and Matti Salminen gives perhaps the best account of the unyielding Hunding on DVD(likewise with his Hagen at the Met). Donald McIntyre is a suitably firm and authoritative Wotan with his voice still holding up for one of the most thrilling final lines of any opera. Gwyneth Jones is a vocally powerful and often intense Brunnhilde, she has been criticised for the lack of beauty in the high register but the commitment she brings to this huge role deserves much more credit than it does I feel. In conclusion, wonderful and my favourite of the 1980 Ring Cycle productions. 10/10 Bethany Cox

Wow! What a great performance. I have listened to and watched numerous productions of Wagner's Ring. This performance is easily the best that I have ever seen. The sensuality of the first act, drama of the second, and finally the heartbreak and catharsis of the third provided a true emotional roller coaster ride. All of the performers were fantastic. I was not familiar with Jeannine Altmeyer, Peter Hoffman, and Donald McIntyre but was so impressed that I am looking for more of their recordings. Gwyneth Jones' performance as Brunhilde was one for the ages. Chereau's and Boulez's vision to place the scene outside of its normal medieval-fantasy setting made the characters all the more involving and believable. Wotan's final parting with his favorite daughter, Brunhilde, gave my goose bumps. This is an unforgettable performance that I cannot recommend any more highly.

A terrific production that really lends itself to the (small) screen. Chereau and Boulez went about building a production from scratch that would be faithful to Wagner's idea of music theatre in mounting this work (and part of the extras on the recording is a making-of documentary on all four operas of their Ring Cycle, of which this is one part).Crucially, the performance is kinetic, especially in the famous first act. The Siegmund and Seglinde of Altmeyer and Hoffmann - siblings who become lovers during the act - defy casting convention in being young, lithe, dramatic singers. And so the process continues with casting, design and dramatic intent built from the principles of what is to be achieved in presenting the drama to the audience. The singing does not suffer as you'd be forgiven for thinking it might; the performance from the pit is first rate. 7/10

This is, imho the best performance of any opera I've ever seen. All actors are good looking people, acting great and singing beautifully. The staging and cinematography is fascinating. This is not a pathetic traditional staging like Levine, but a much more touching realistic appearance. The conducting is rapid and very much balanced, making it extremely interesting to listen to. (I never heared the fire music at the ending so balanced.) In fact, the whole performance is very well balanced. In the first place by the lack of flaws (cast, acting, conducting). So finally, this opera flows from start till end. The opera itself is perfect... an open ending. The only opera that that ends to satisfaction.