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Background -

Das Rheingold introduces a primeval collection of gods, nymphs, giants, and dwarves who instigate the situations inherited by Wotan's children, the humans Siegmund and Sieglinde, and the Valkyrie, Brünnhilde. It is a brief glimpse of an Edenic world, already beginning to be corrupted by greed and lust for power. Musically, Das Rheingold introduces many of the motives associated with objects and ideas of importance in the drama. Among these are the Rheingold, the Ring, Walhall, Wotan's spear, and the renunciation of love. Das Rheingold also introduces Wagner's huge Ring orchestra, its versatility, and at times, Wagner's sheer audacity with sound. At one astonishing moment in the transition to Scene Three, the orchestra falls silent, leaving the enslaved Nibelungs' forging rhythm to ring out on 18 tuned anvils. Rheingold requires six harps for its conclusion, accompanying the forlorn cries of the betrayed Rhine Daughters. The extraordinary prelude, which is in essence the prelude to the entire cycle, should also be mentioned. The first sound the listener hears is a low E flat, played on the double basses, which seems to appear out of nowhere. This single thread of sound slowly becomes a remarkable extension of the single key of E flat, layering arpeggio upon arpeggio and figuration upon figuration, adding different orchestral voices with their different colors to suggest the growth of a mighty river from its source to an overwhelming torrent. Wagner wrote in his autobiography that the sound came to him in a trancelike state in which he felt almost drowned. Although there is no evidence to contradict this account, Wagner often used fanciful accounts of unmediated inspiration to explain his compositions. Against Wagner's wishes, Das Rheingold was premiered in 1869 for Wagner's patron, King Ludwig II, in Munich. Wagner had intended to introduce the complete cycle at his new Festival Theater in Bayreuth, and neither the work nor the opera house had yet been completed. Ludwig did not want to wait to hear the completed operas. - Theresa Muir

Georg Solti was a Hungarian conductor known for his work with the Chicago, London, and Paris Symphony Orchestras. During his more than 50 years in the classical music industry, he recorded more than 40 operas and made more than 250 recordings with the Chicago Symphony Orchestra. Solti was influenced and taught by some of the most well-known composers and conductors in the industry, including Béla Bartok, Leo Weiner, Zoltan Kodaly, and Ernst von Dohnanyi. Richard Strauss was one of his favorite composers; on the composer's 85th birthday, Solti performed Der Rosenkavalier.

Born in Budapest, Solti studied composition and piano at the Budapest Conservatory. He made his professional debut in 1930 with the Budapest Opera. He conducted the ensemble until 1939 when he moved to Switzerland. Solti was also impressed by the works of Arturo Toscanini. He was even more astounded when Toscanini chose him to be his assistant at the Salzburg Festival in 1937. This was one of Solti's major achievements during his years as a conductor and pianist. In 1942 he reached another milestone in his career when he won first prize for piano at the Concours International at Geneva, Switzerland. For ten years, he held the position of Artistic and Music Director of the Frankfurt Opera. From 1961 to 1971 he was the Music Director of the Royal Opera House in London. Following his successful appointment in London, he was knighted and became Sir Georg Solti in 1972.

Traveling the world, Solti did not neglect the United States. He made his U.S. debut with the San Francisco Symphony in 1953. He was first associated with the Chicago Symphony in 1954 at the annual Ravinia Festival. In 1969, he was appointed music director for the Chicago Symphony, a position he held for more than 20 years.

During his career, Solti recorded all of Wagner's works including Ring. He conducted more than 40 operas around the world, among them Arabella, Moses und Aron, and Die Frau ohne Schatten. He began recording in 1947 under the Decca label, but collections and other recordings can also be found under the Unitel label.

The '90s were a slow time for him, as traveling worldwide, performing concerts, and recitals became tiresome. He was the artistic director of the Salzburg Easter Festival from 1990-1992. In 1992, he performed Othello at Covent Garden in London. Solti made quite a name for himself as a conductor and pianist. With more than six decades of performances and recordings to his credit, Georg Solti will always be one of the greatest conductors of his time. He died September 5, 1997 in Antibes, France. - Kim Summers LPs made by KING SUPER ANALOGUE, in the USA (mastered in Japan, pressed at RTI in the USA and distributed by Cisco Music)
LPs released in the 1990s LPs recorded in STEREO Record Catalog Number: KIJC 9152~4 Limited Edition box set, issued on 180-gram vinyl This listing is for a super rare, out of print 3-LP boxed title - an OPENED and in near mint minus condition LP PRESSED and ISSUED by KING SUPER ANALOGUE Records of a highly collectible title from their catalog - a superb title featuring -

Wagner // Sir Georg Solti & VPO

3-LP Box Set Title -

Wagner: Das Rheingold

Track Listing -

A1. Prelude And Scene 1: Weia! Waga! Woge! Du Wellen - Hehe Ihr Nicker - Lugt Schwestern! - Interlude
B1. Scene 2 (Pt. 1): Wotan, Gemahl! Erwache! - Hilf Mir Schwester! - Sanft Schloss Schlaf Dein Aug' - Endlich Loge!
C1.1. Scene 2 (Concl): Umsonst Sucht Ich (Loge's Narration) - Interlude (Wotan And Loge Descend To Nibelheim)
C1.2. Scene 3 (Pt. 1): Hehe! Hieher! Tuckisher Zwerg
D1.1. Scene 3 (Concl): Wer Hilfe Mir! - Gehorchen Muss Ich Den Leibichen Bruder - Was Wollt Ihr Hier? - Interlude (Wotan And Loge Return From Nibelheim)
D1.2. Scene 4 (Pt. 1): Da, Vetter Sitze Du Fest!
E1. Scene (Pt. 2): Gezahlt Hab'Ich - Bin Ich Nun Frei? (Alberich's Curse) - Fasolt Und Fufner Nahen Von Fern - Weiche, Wotan! Weiche! (Erda's Warning)
F1. Scene 4 (Concl): Geheimnisshehr Hallt Mir Dein Wort - Heda! Heda! Hede! - Abendlich Strahlt Der Sonne Auge (Entry Of The Gods Into Valhalla)
Performers / Credits / Other Information -
• Recorded At – Sofiensaal
• Baritone Vocals [Donner] – Eberhard Wächter
• Baritone Vocals [Wotan] – George London
• Bass Vocals [Alberich] – Gustav Neidlinger
• Bass Vocals [Fafner] – Kurt Böhme
• Bass Vocals [Fasolt] – Walter Kreppel
• Composed By – Richard Wagner
• Conductor – Georg Solti
• Mezzo-soprano Vocals [Erda] – Jean Madeira
• Orchestra – Vienna Philharmonic
• Photography By – Hans Wild
• Producer – John Culshaw
• Soprano Vocals [Fricka] – Kirsten Flagstad
• Tenor Vocals [Froh] – Waldemar Kmentt
• Tenor Vocals [Loge] – Set Svanholm
• Tenor Vocals [Mime] – Paul Kuen
• Vocals [Flosshilde] – Ira Malaniuk
• Vocals [Freia] – Claire Watson
• Vocals [Wellgunde] – Hetta Plumacher
• Vocals [Woglinde] – Oda Balsborg
Japanese issue from King, as part of the Super Analogue Disc series.
First performed at the Holf-und-National Theater, Munich, September 22nd 1869.
Recorded in the Sofiensaal, Vienna, Sept/Oct 1958.
CONDITION Details: The LP BOX is in near mint minus condition. The BOX is tight and clean, with NO seam splits or crushed corners. The corners are solid. The colors on the jacket are sharp and clean with just light shelf wear - virtually as new. The corners and seams show very light shelf wear. Does NOT come with the paper OBI strip - see pictures with this listing for more detail as they are of the actual item. Includes two paper inserts - see pictures with this listing.
The LPs are in near mint minus overall condition! There are no serious marks on the vinyl. There may be some light spider marks on the vinyl which are caused by sliding LPs in and out of the inner sleeve. Most of the time, these types of marks are not audible, but it really depends on the sensitivity of your audio gear. Considering the vintage of this LP, the vinyl looks absolutely terrific! However, this is not a new audiophile LP....some extraneous sound is inevitable and should be expected for vintage LPs. This vinyl retains much of the original gloss and sheen! There are NO serious spindle marks on the record labels either.
A Short Note About LP GRADING - Mint {M} = Only used for sealed items. Near Mint {NM} = Virtually flawless in every way. Near Mint Minus {NM-} = Item has some minor imperfections, some audible. Excellent {EXC} = Item obviously played and enjoyed with some noise. Very Good Plus {VG+} = Many more imperfections which are noticeable and obtrusive.

For best results, always thoroughly clean your LPs before playing them, even brand new, sealed LPs.

LPs can be audiophile quality pressings (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Do not let this rarity slip by!