This is a lovely Rosenkavalier with great singers in the four principal roles and an excellent supporting cast. Grummer still sounds fresh despite the fact that this is a little late in the day for her. The best thing about her Marschallin is how naturally she conveys the text. Her offhand approach works wonders at the ends of Act One and Three. Martin sounds very sopranoish by this point in her career (not surprising since she had made the transition to soprano roles only a few years before). Her Octavian is very good if perhaps a little anonymous. Popp sings Sophie like an angel with her floated top notes. The big surprise here is how good Kelemen is as Ochs. He is so associated with Alberich, Klingsor, and Pizarro that hearing him as the Marschallin's boorish, but lovable cousin takes a moment of adjustment. In the end, he sings the role very well with all the low notes securely in place and with enough charm to make him attractive.The supporting cast is very lively and sings well; they are clearly enjoying themselves. Werner Gura, who would create the role of Edmund in Reimann's opera Lear a few years later, sings the Italian Tenor with strong high notes, but an unlovely tone. Siegfried Kohler conducts very capably.The sound seems cobbled together from various sources, the voices slightly recessed, but clear. Once the ear adjusts it's not a problem. This shouldn't be a first Rosenkavalier, but fans will enjoy it.