---
product_id: 5732456
title: "Wagner: Der Ring des Nibelungen - Complete Ring Cycle (Levine / Metropolitan Opera)"
price: "AR$594554"
currency: ARS
in_stock: true
reviews_count: 13
url: https://www.desertcart.com.ar/products/5732456-wagner-der-ring-des-nibelungen-complete-ring-cycle-levine-metropolitan
store_origin: AR
region: Argentina
---

# Wagner: Der Ring des Nibelungen - Complete Ring Cycle (Levine / Metropolitan Opera)

**Price:** AR$594554
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Wagner: Der Ring des Nibelungen - Complete Ring Cycle (Levine / Metropolitan Opera)
- **How much does it cost?** AR$594554 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.com.ar](https://www.desertcart.com.ar/products/5732456-wagner-der-ring-des-nibelungen-complete-ring-cycle-levine-metropolitan)

## Best For

- Customers looking for quality international products

## Why This Product

- Free international shipping included
- Worldwide delivery with tracking
- 15-day hassle-free returns

## Description

Anello Del Nibelungo (L') / Der Ring Des Nibelungen (7 Dvd)

Review: A fabulous "traditional" Ring for beginners and veterans alike - I have been to several Rings -- 2 in San Francisco, 4 in Seattle and even the 1990 Met production on this DVD. I have also seen several versions of the Ring on DVD, including Stuttgard and Bayreuth productions. Of all the Rings I have seen this Met production is the only one that meets Wagner's standard as he wrote it -- with the visuals true to his directions. It is this version of the Ring that I show to my local opera group, and the only one I recommend as an introduction to the greatness and immensity of the Ring itself. The other versions, though excellent productions in themselves, are not produced the way Wagner wrote it, as Nordic mythology, but as a contemporary interpretation of this amazing work. This production is as good as any opera you would expect from the Met. Because the Met has all the latest equipment and technology available to them to really put on an incredible show you should expect nothing less but breathtaking -- and all the special effects are there (no horses, however). The most disappointing character, however, was the dragon. It was pitiful! (We call it a crab or Dungeness dragon at our house!) Shame on the Met for not having more imagination and giving us a truly awesome dragon. They certainly have the talent to pull it off much better than they did. Seattle's dragon was the best I have ever seen -- and they were able to keep it a secret from the audience up until its amazing debut. Kudos to them! The Fire Music at the end of Die Walkure is breathtaking, and you are left with the feeling you have truly seen the best there is. Siegfried was a lot of fun to watch. Mime was fabulous and with all his antics it was hard to remember that he is a good tenor in his own right. The only frustrating thing was in the third act, Siegfried's ring kept mysteriously switching from one hand to the other and it became distracting. I actually counted eight times the ring switched hands -- my suspicion was that it was two takes that were spliced together. But why Siegfried can't remember which hand he had originally put the ring is beyond me. I was at the 1990 Met production and got to see the Immolation Scene at the end of Gotterdammerung from the back of the orchestra section. It was truly stupendous! I kept poking my mother saying, "They really pulled it off! Wow!" The DVD version was less spectacular, however, with the camera intent on getting close-ups instead of just backing up to a full stage and letting the special effects run their course. You lost the continuity of the staging, suddenly finding yourself underwater with the Rhinemaidens, and not knowing how you got there. It's a shame that they didn't duplicate the experience I saw being in the audience. It's hard to describe to anyone watching the DVD. The singing, though not really spectacular except for the brilliance of James Morris, Matti Salminen and perhaps Jessye Norman, was more than adequate. Although the singing took a back seat to the "Dream Team" of Kirsten Flagstad, Lauritz Melchior and Frederich Schorr, the singers were always on key and certainly gave it their best professional performance. Hildegarde Behrens will never be another Birgit Nilsson, but she certainly made up for it in her exquisite acting ability, her loveliness and her physical agility. She was a believable Brunnhilde, and that's hard to find in today's buxom bunch. The close-ups of her facial expressions and body language were truly hypnotic. Siegfried Jerusalem was also very believable as his name-sake, superbly pulling off his role, though you could see how increasingly tired he was getting by the end of Gotterdammerung. He acted the true teenage brat and jumped over logs in the forest with ease. Matti Salminen was a sinister Hagen. Not only was his deep voice magnificent, but his acting was also wonderful. In the dream sequence with Alberich he did not blink once, but just stared straight ahead. It was riveting. James Levine is still the master of conducting The Ring. His orchestra was in top form and was rich and exciting. In the Solti recording, however, they used real alpen horns in Gotterdammerung, making the vassal scene a bit more realistic. In general, other than some minor criticisms, this is a superb "traditional" production and should be shown before you see any other contemporary interpretation. As they said in Seattle, "Sometimes you just want to see 'it' and not an interpretation of 'it.'" This is really a wonderful production and Wagner himself would have been proud. My opera group loved it and couldn't stop talking about it, and I guess that's the real proof.
Review: Smashingly fine! - From the opening desperate scenes to the closing trumpets blaring, Part One of Wagner's Ring, "Das Rheingold" shines with music, majesty, masculinity, and monstrosities. This opera is soaring when it needs to soar, is subdued when it needs to be subdued and is mezzo-fortissimo when it needs to be mezzo-fortissimo. The singing is perfect and profound while the costumes and scenery are lavish and likeable. The whole production is earthy with plenty of raw emotion and yet other-worldly with much spiritual angst. Although there are female roles in this opera, the overall tone reverberates with dark, brooding, manly Teutonic energy. The offstage singing chorus gives the end of "Das Rheingold" a warm and angelic feel that is quite endearing as both heroine and hero walk off toward a distant rainbow. With its emphasis on universalism rather than strictly German nationalism, "Das Rheingold" is both operatic prologue and template for the remaining three parts to the Ring which reaches its apotheosis only when human foibles come squarely up against the petulant whims of the supernatural. This Wagner Ring production by the Metropolitan Opera is boldly original and sweepingly imaginative and will likely be cherished as an operatic classic. Frenetic orchestral music as only Wagner could compose begins Part 2 of his Ring Cycle, "Die Walkure." In this production, the singing is both flawless and finicky and serious and sublime. The costumes and setting are ruggedly rustic and ruthlessly retrograde. The Promethean sounds of "Ride of the Valkyries" permeate Act 2 in this opera that reaches heights of grandiose greatness and depths of subterranean sublimity. The whole production is important both subconsciously and subcutaneously as both mind and body become awash in this operatic opium. Swords and spears figure prominently in this production as symbols of male, and sometimes female, power, leading to both ecstasy and joy in Act 1 and frustration and forlornness in Act 2. The spear symbol dominates the conclusion of Act 2 as the lead characters confront each other with them, leading to the death of one after a struggle. Act 3 concludes with a return of the lusty "Ride of the Valkyries" and a lusty onstage tryst followed by an all-consuming fire. Wagner's Ring cycle descends "dans la profondeur" with Siegfried and its chromatic character development and Gotterdammerung or "The Twilight of the Gods." Wagner moved heaven and earth to compose his Ring and Levine and the Metropolitan Opera move us with this smashingly fine production.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Customer Reviews | 4.4 out of 5 stars 369 Reviews |

## Product Details

- **Genre:** Music Video & Concerts, Classical / Opera & Vocal
- **Format:** Multiple Formats, Classical, Dolby, Color, Box set, NTSC, Full Screen, Subtitled
- **Contributor:** (function(f) {var _np=(window.P._namespace("DetailPageProductOverviewTemplatesJava"));if(_np.guardFatal){_np.guardFatal(f)(_np);}else{f(_np);}}(function(P) {
    P.when('A').execute(function(A){
    A.on('a:truncate:po-attribute-truncate-2:updated', function(data) {
    var isTruncated = !data.truncateInstance.getIfTextFits();
    var seeMoreElement = document.getElementById('po-attribute-see-more-id-2');
    if(seeMoreElement) {
    seeMoreElement.style.display = isTruncated ?  ''  :  'none';
    }
    })
    });
}));  Kurt Moll, James Morris, Jacalyn Bower, Martha Thigpen, Hildegard Behrens, Richard Wagner, Christa Ludwig, Jessye Norman, Joyce Castle, Brian Large, Pyramid Sellers, Diane Kesling, Gary Lakes, Katarina IkonomuKurt Moll, James Morris, Jacalyn Bower, Martha Thigpen, Hildegard Behrens, Richard Wagner, Christa Ludwig, Jessye Norman, J…    See more
- **Language:** German
- **Color:** Color

## Images

![Wagner: Der Ring des Nibelungen - Complete Ring Cycle (Levine / Metropolitan Opera) - Image 1](https://m.media-amazon.com/images/I/71uWSF8GptL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ A fabulous "traditional" Ring for beginners and veterans alike
*by P***N on May 11, 2007*

I have been to several Rings -- 2 in San Francisco, 4 in Seattle and even the 1990 Met production on this DVD. I have also seen several versions of the Ring on DVD, including Stuttgard and Bayreuth productions. Of all the Rings I have seen this Met production is the only one that meets Wagner's standard as he wrote it -- with the visuals true to his directions. It is this version of the Ring that I show to my local opera group, and the only one I recommend as an introduction to the greatness and immensity of the Ring itself. The other versions, though excellent productions in themselves, are not produced the way Wagner wrote it, as Nordic mythology, but as a contemporary interpretation of this amazing work. This production is as good as any opera you would expect from the Met. Because the Met has all the latest equipment and technology available to them to really put on an incredible show you should expect nothing less but breathtaking -- and all the special effects are there (no horses, however). The most disappointing character, however, was the dragon. It was pitiful! (We call it a crab or Dungeness dragon at our house!) Shame on the Met for not having more imagination and giving us a truly awesome dragon. They certainly have the talent to pull it off much better than they did. Seattle's dragon was the best I have ever seen -- and they were able to keep it a secret from the audience up until its amazing debut. Kudos to them! The Fire Music at the end of Die Walkure is breathtaking, and you are left with the feeling you have truly seen the best there is. Siegfried was a lot of fun to watch. Mime was fabulous and with all his antics it was hard to remember that he is a good tenor in his own right. The only frustrating thing was in the third act, Siegfried's ring kept mysteriously switching from one hand to the other and it became distracting. I actually counted eight times the ring switched hands -- my suspicion was that it was two takes that were spliced together. But why Siegfried can't remember which hand he had originally put the ring is beyond me. I was at the 1990 Met production and got to see the Immolation Scene at the end of Gotterdammerung from the back of the orchestra section. It was truly stupendous! I kept poking my mother saying, "They really pulled it off! Wow!" The DVD version was less spectacular, however, with the camera intent on getting close-ups instead of just backing up to a full stage and letting the special effects run their course. You lost the continuity of the staging, suddenly finding yourself underwater with the Rhinemaidens, and not knowing how you got there. It's a shame that they didn't duplicate the experience I saw being in the audience. It's hard to describe to anyone watching the DVD. The singing, though not really spectacular except for the brilliance of James Morris, Matti Salminen and perhaps Jessye Norman, was more than adequate. Although the singing took a back seat to the "Dream Team" of Kirsten Flagstad, Lauritz Melchior and Frederich Schorr, the singers were always on key and certainly gave it their best professional performance. Hildegarde Behrens will never be another Birgit Nilsson, but she certainly made up for it in her exquisite acting ability, her loveliness and her physical agility. She was a believable Brunnhilde, and that's hard to find in today's buxom bunch. The close-ups of her facial expressions and body language were truly hypnotic. Siegfried Jerusalem was also very believable as his name-sake, superbly pulling off his role, though you could see how increasingly tired he was getting by the end of Gotterdammerung. He acted the true teenage brat and jumped over logs in the forest with ease. Matti Salminen was a sinister Hagen. Not only was his deep voice magnificent, but his acting was also wonderful. In the dream sequence with Alberich he did not blink once, but just stared straight ahead. It was riveting. James Levine is still the master of conducting The Ring. His orchestra was in top form and was rich and exciting. In the Solti recording, however, they used real alpen horns in Gotterdammerung, making the vassal scene a bit more realistic. In general, other than some minor criticisms, this is a superb "traditional" production and should be shown before you see any other contemporary interpretation. As they said in Seattle, "Sometimes you just want to see 'it' and not an interpretation of 'it.'" This is really a wonderful production and Wagner himself would have been proud. My opera group loved it and couldn't stop talking about it, and I guess that's the real proof.

### ⭐⭐⭐⭐⭐ Smashingly fine!
*by R***N on September 9, 2013*

From the opening desperate scenes to the closing trumpets blaring, Part One of Wagner's Ring, "Das Rheingold" shines with music, majesty, masculinity, and monstrosities. This opera is soaring when it needs to soar, is subdued when it needs to be subdued and is mezzo-fortissimo when it needs to be mezzo-fortissimo. The singing is perfect and profound while the costumes and scenery are lavish and likeable. The whole production is earthy with plenty of raw emotion and yet other-worldly with much spiritual angst. Although there are female roles in this opera, the overall tone reverberates with dark, brooding, manly Teutonic energy. The offstage singing chorus gives the end of "Das Rheingold" a warm and angelic feel that is quite endearing as both heroine and hero walk off toward a distant rainbow. With its emphasis on universalism rather than strictly German nationalism, "Das Rheingold" is both operatic prologue and template for the remaining three parts to the Ring which reaches its apotheosis only when human foibles come squarely up against the petulant whims of the supernatural. This Wagner Ring production by the Metropolitan Opera is boldly original and sweepingly imaginative and will likely be cherished as an operatic classic. Frenetic orchestral music as only Wagner could compose begins Part 2 of his Ring Cycle, "Die Walkure." In this production, the singing is both flawless and finicky and serious and sublime. The costumes and setting are ruggedly rustic and ruthlessly retrograde. The Promethean sounds of "Ride of the Valkyries" permeate Act 2 in this opera that reaches heights of grandiose greatness and depths of subterranean sublimity. The whole production is important both subconsciously and subcutaneously as both mind and body become awash in this operatic opium. Swords and spears figure prominently in this production as symbols of male, and sometimes female, power, leading to both ecstasy and joy in Act 1 and frustration and forlornness in Act 2. The spear symbol dominates the conclusion of Act 2 as the lead characters confront each other with them, leading to the death of one after a struggle. Act 3 concludes with a return of the lusty "Ride of the Valkyries" and a lusty onstage tryst followed by an all-consuming fire. Wagner's Ring cycle descends "dans la profondeur" with Siegfried and its chromatic character development and Gotterdammerung or "The Twilight of the Gods." Wagner moved heaven and earth to compose his Ring and Levine and the Metropolitan Opera move us with this smashingly fine production.

### ⭐⭐⭐⭐⭐ Top of the Line Version of the Ring
*by K***R on May 16, 2010*

This is a classy 1980's performance of Wagner's titanic Der Ring des Nibelungen (The Ring) by James Levine and a superb Metropolitan Opera Orchestra. I am not speaking to those who have an acute understanding of the Wagnerian literature, are opera buffs of very long standing, are technically versed in the complexities of music or have seen many different productions of The Ring. This is a report only for those who like opera with subtitles, want to see it in some approximation of how Wagner intended it to be, and are not going to sit for three plus hours (even broken by their own intermissions) to see any two-disc opera in the series of four. For those who are, more or less, the average viewer, there is a real treat here. The singing ranges from fine to outstanding. The acting, for opera, is much above average. Standouts in one or more of the operas in The Ring, who sing and emote in great style are, James Morris and Matti Salminen, two stalwarts of stature, Siegfried Jerusalem, a tenor hero, who handles himself well on stage, Heinz Zednik and Ekkehard Wlaschima, who are in the tradition of supporting players who light up the stage; then there is the heroine, played and sung with vigor, pathos and rage, by Hildegard Behrens, Christa Ludwig, an old pro of considerable talent, makes a number of important appearances, and, well, let me leave it at that, though I omit such prominent names as Kurt Moll and Dawn Upshaw, who deserve mention in any more thorough review. Then there is the production and video staff who deserve the highest praise for providing we average viewers with scenic, visual and audio design which, probably, conveys something of what Wagner would recognize as what he intended, while keeping it fresh and vivid to modern viewers. Then, there is the Orchestra, playing with a verve and splendor that provides foundation not competition with the singers. No doubt James Levine, their conductor and leader of the Mets team effort, has every reason to be proud of his players, and proud of what everyone did to make this the DVD experience it is. As I say, I cannot compare it with other full productions, nor would I seek another Melchior or Flagstadt, whom I heard and saw on occasion in the forties, they were forces of nature, but, as with all performers, of their time and place. What I would say is, everyone should see and hear The Ring (at least once) for it is one of the musical gems of opera. Levine sees to it that we hear it so as to appreciate Wagner's achievement. The remainder of the creative and technical group, as well as the performers, see to it that we see an approximation of the work that Wagner put together to go with the music. I don't think you can go wrong with this set.

## Frequently Bought Together

- Wagner: Der Ring des Nibelungen - Complete Ring Cycle (Levine / Metropolitan Opera)
- Parsifal: The Metropolitan Opera Orchestra and Chorus
- Wagner - Die Meistersinger von Nurnberg / Heppner, Mattila, Morris, Pape, Allen, Polenzani, Levine, Metropolitan Opera

---

## Why Shop on Desertcart?

- 🛒 **Trusted by 1.3+ Million Shoppers** — Serving international shoppers since 2016
- 🌍 **Shop Globally** — Access 737+ million products across 21 categories
- 💰 **No Hidden Fees** — All customs, duties, and taxes included in the price
- 🔄 **15-Day Free Returns** — Hassle-free returns (30 days for PRO members)
- 🔒 **Secure Payments** — Trusted payment options with buyer protection
- ⭐ **TrustPilot Rated 4.5/5** — Based on 8,000+ happy customer reviews

**Shop now:** [https://www.desertcart.com.ar/products/5732456-wagner-der-ring-des-nibelungen-complete-ring-cycle-levine-metropolitan](https://www.desertcart.com.ar/products/5732456-wagner-der-ring-des-nibelungen-complete-ring-cycle-levine-metropolitan)

---

*Product available on Desertcart Argentina*
*Store origin: AR*
*Last updated: 2026-05-24*