Astrid Varnay.(Original Masters: Astrid Varnay)

[] "ORIGINAL MASTERS: ASTRID VARNAY" Excerpts from Wagner's Die Walkure, Gotterdammerung, Tristan und Isolde; Beethoven's "Ah! Perfido"; Wagner's Wesendonck-Lieder; arias from Verdi's Un Ballo in Maschera, La Forza del Destino. With Topper, Windgassen; Symphonie-orchester des Bayerischen Rundfunks, Bamberger Symphoniker, Ludwig, Weigert, Leitner. Biographical note, no texts or translations. Deutsche Grammophon 474410-2 (3)

Rudolf Bing felt he didn't need Astrid Varnay during her glorious prime. The Swedish-born American soprano began her illustrious career singing Sieglinde at the Met when she was only twenty-three, and she returned as a striking interpreter of character roles after her days in the Hochdramatisch repertory had ended. But Bing, who didn't care much for Wagner, found his own superstar Isolde and Brunnhilde: Birgit Nilsson. Varnay concentrated on Europe, most notably Bayreuth and Munich, while Nilsson--born the same year (1918)--dominated the scene in New York.

These recordings document what we missed between 1954 and 1959. Varnay could not muster the sort of top tones that were Nilsson's lightning-blitz trademark. Nevertheless, she commanded a vast array of dark colors, an enveloping warmth, keen theatrical instincts, plenty of power and, yes, a secure high C when needed. Where Nilsson inspired awe, Varnay could break one's heart. In those days we had voices.

Lengthy excerpts from the Ring reveal Varnay as a Brunnhilde of heroic rapture. Unlike most of her would-be successors, she achieves her goals with no sense of strain. She really cares about the words and even manages a reasonable semblance of a trill. ...