Does music get any better than Wagner's greatest moments from his 'Ring Cycle'?

Gioachino Rossini said of Richard Wagner's music, "Monsieur Wagner has good moments, but awful quarters of an hour!"

I agree that there are some moments that seem to linger forever as Wagner experiments with yet another way to expand a phrase. But for me, the "good moments" aren't just good; they are some of the most satisfying music to experience, especially when performed by artists gifted with a voice suitable for Wagner.

Das Rheingold

The beginning

This is how the 14-hour odyssey begins: E-flat major arpeggios start off slow, gradually getting faster to create a ripple effect that evokes the River Rhine. The first voices we hear at the beginning of the opera are the three rhinemadiens, mermaidlike creatures.

Have you ever heard Mendelssohn's Fair Melusina Overture? There are similarities to the opening of the later-composed Rheingold, right? I'm not accusing anyone of pilfering, but it's ironic how similar they are given how much Wagner hated Mendelssohn.

Weia! Waga! Woge du Welle

These rheinmaidens know how to make an entrance! This takes shower singing to a whole new level.

Entrance of the Gods into Valhalla

Die Walkure

End of Act I

Sieglinde is a role that fits Jessye Norman like a glove. She owns this role. I love the scream (it's not written in the score) that she lets out as Siegfried pulls the sword from the tree. (Is it just me, or did he not have to try very hard?)

Jessye Norman, soprano
Gary Lakes, tenor

Wintersturme through the end of Act I

Insert several OK emojis here! This recording is a gem. Conductor Erich Leinsdorf deeply understands the momentum of the opera, especially in this final scene. Just listen to the strings in the last minute. Not surprisingly, both singers, particularly Vickers, really deliver.

Jon Vickers, tenor
Gre Brouwenstijn, soprano

Brunnhilde's Battle Cry, Hojotoho!

Kristen Flagstad was the first person really to own one of opera's most demanding roles, Brunnhilde. And you can hear why. She has an enormous voice that effortlessly penetrates the gigantic Wagner orchestra.

Kristen Flagstad, soprano

Brunnhilde's Battle Cry, Hojotoho!

I am going to get verklempt talking about Birgit Nilsson. No one has delivered the role of Brunnhilde as she did. Nilsson singing Brunnhilde is what happens when passion, talent and genetics align (much like Michael Phelps and swimming). Her voice is pure steel and never forced. In this performance, she and Leinsdorf produce the greatest recording of Brunnhilde's Battle Cry.

George London, bass-baritone
Birgit Nilsson, soprano

So ist es den au smit den ewigen Gottern

A few years ago, a friend offered me tickets to see Die Walkure at the Met. Of course, I said yes. When I got there, I realized he had given me box seats. Box seats to Die Walkure at the Met! I will never forget Stephanie Blythe's entrance in Act II and how she just let's Wotan have it.

Stephanie Blythe, mezzo

O hehrstes Wunder!

Yes, a human just did that. The sound that comes from Jessye Norman when she takes the broken sword from Hildegard Behrens is one for the books. It's massive, effortless and fills the entire house. No orchestra covers up Jessye Norman — no way, no how!

Ride of the Valkyries

"The machine" was a pretty controversial element of the Met's new Ring Cycle. It doesn't seem to get in the way of the ladies. Hojotoho!

Wotan's Farewell

Donald McIntyre, bass-baritone
Gwyneth Jones, soprano

Wotan's Farewell

Alexander Kipnis, bass

Siegfried

Forging Song

Ben Heppner is a true heldentenor (a rare breed). When he was at his best, he brought something really special to Siegfried. Listen to the strength and steeliness of his voice.

Ben Heppner, tenor

Forest Murmurs

Manfred Jung, tenor

Gotterdammerung

Conclusion of the Immolation Scene

Georg Solti's Ring Cycle with the Vienna Philharmonic and an all-star cast is considered one of the greatest — if not the best — recording of this epic work. It should be no surprise that Birgit Nilsson was part of the cast as Brunhillde. In the final moments of a documentary about the making of Solti's Ring Cycle, Nilsson is wrapping up the Immolation Scene and the incredible finale, where all the leitmotifs overlap and come together. This is how you end an opera.

Birgit Nilsson, soprano

Immolation Scene

The last one was pretty great, right? Still, Nilsson's best recording of the Immolation Scene is from Bayreuth with Karl Bohm, whose tempi better evoke the drama of this moment. This scene exploits Nilsson's vocal and musical gifts.

Birgit Nilsson, soprano

The Ring Without Words

You don't have to sit through four operas to hear the best of the Ring Cycle. Conductor Lorin Maazel compiled the best music from each opera, sans voice, into one work that he called The Ring Without Words.