Father and son are both supreme in this work .Rather fast tempi and that usual freedom which keeps a spirit of improvisation (of course terribly controlled) and the sound is pretty good for the time . Konetzni in those early years exhib a truly superb material, is equally tender and grande dame . The very youg Stevens has incredible fire . Good Sophie and supreme luxe of Pataky as Sänger and Branzell as Annina . List imposing but really to free with the notes .

I've already reviewed Kleiber's broadcast recording from 1947 with Bampton, Cavelti and List. This performance has many of the same extensive cuts so be warned. However, the Act Three prelude missing from the later performance is here.Konetzni probably should have remained a mezzo. Her attempts at the hoch-dramatisch repertoire were always compromised by her lack of a secure top (like Traubel, she left out high B's and C's regularly). The Marschallin's tessitura is more accommodating though and her singing here is attractive and warm (she does sing her own B in the trio). Stevens sounds more sopranoish here than she would later on and all the better for it. Ingeborg Schmidt-Stein is a beautiful Sophie with spinning high notes. List is having a high old time

I have already reviewed Kleiber's broadcast recording from nine years later with Bampton, Cavelti, and List. Kleiber uses pretty much the same cuts which are extensive. This recording does have the orchestral prelude to the Third Act missing from the later performance. Anny Konetzi began her career as a mezzo and would probably have been better advised to stay there. Her attempts at Brunnhilde, Isolde, and other hoch-dramatisch roles were compromised by her lack of an easy top. The Marschallin's music does not lie very high and so Konetzni is on more secure ground, vocally speaking (she does sing her own high B at the end of the trio). Stevens sounds more sopranoish here than she would later on at the Met and all the better for it. Ingeborg Schmitt-Stein is a lovely Sophie with an especially sweet upper register. List sounds vocally fresher than he does in the later Buenos Aires performance and he's having a high old time. Conductors today would insist on more fidelity to the score. The supporting cast includes such fine artists as Erich Witte, Karin Branzell, and Kolomon von Pataky as a very good Italian Singer. Despite the cuts, this is very lively performance and the sound quite good for its time. Yes, there are blips throughout, including the static in Act Three mentioned by Andy; the opening notes of the opera are missing as well. But let that pass. If you're interested in Kleiber's interpretation or in any of the singers, you'll want this.