Famous latter-day Wotans included baritones with faulty upper extensions (Schorr), bassos who would never master that territory (Frantz, Edelmann), or bass-baritones who did but whose instruments soon deteriorated (Hotter, London). Yet much of the role needs potent high Fs and F#s (the outbursts in WALKUERE Act 3 sc. 2, the exchanges with Erda in SIEGFRIED), so Wagnerites grew used to hearing these passages badly sung.Until Thomas Stewart.Stewart was a true baritone, G to G. He sang Wotan in the big houses for 2 decades, offering many precious assets: unusual stamina, volatile temperament, handsome mid-range, ringing top, dexterous line readings, and a fire & security in the climaxes that weren't available to heavier voices--compare the Teldec WALKUERE where Tomlinson is strained and behind the beat. In his heyday Stewart was the closest thing to an all-embracing Wotan since the young Hotter.This collection features highlights from his Salzburg years, also from Stein's 1970 RING, offering the Texas baritone in his freshest, firmest mid-career voice. The 1967 Sachs solos are classic studio renditions, his 1965 Dutchman is white-hot, and his 1969 Amfortas even more intense, detailed, and gorgeously sung than his fine DG recording.2 entries are subpar: the SALOME snippet, which finds Stewart laboring on top, and a murkily recorded 1976 MEISTERSINGER. Otherwise this is a splendid memento of one of the most underappreciated yet invaluable singers of the last century.