This is a very nice Rosenkavalier. I was pleasantly surprised with Rysanek's performance as Marschalin- very little wobble in the voice and very sensitively sung. Ludwig also gives her usual outstanding performance. Jungwirth is a fine Ochs and de Groote is a beautiful Sophie. Brings back memories of my favorite Sophie, Teresa Stich Randall. The sound is very good. I enjoyed this performance very much-Thank you, Krips and Vienna State Opera.

Rysanek was in very good voice for this performance, soaring in the final trio, and very moving in her monologues. The fact that she was from Vienna was very much an asset. Ludwig had already begun singing the Marschallin when this was recorded. In any case, she was in her best voice here, rich and velvety (her 1956 studio account under Karajan is good, but her voice had not acquired the smoothness that it would in the following decade). De Groot is a lovely Sophie, floating the high lines in the duets with Octavian exquisitely. Jungwirth is hilarious and loveable as Ochs and captures all the rogue's Viennese wit and charm. He also sings very well. One can understand why he was chosen for Solti's famous studio recording. The supporting cast is made up of great Vienna State Opera regulars. Krips leads us through an enjoyable, lively performance that was captured in excellent sound.

It's a very interesting recording, because it was a Moscow performance from October, 3rd 1971! There were three performances, in the 2nd and 3rd K. Ridderbusch sang Ochs, just this one features Jungwirth as the baron!

Viennese born Krips paces this performance brilliantly and reveals special mastery of its tender moments. A fine memento of Ludwig’s matured Oktavian (her last performance of the role was in June 1972). Thoughtful Rysanek is in splendid voice. A rare opportunity to hear the delightful De Groote. Adequate sound.

This rapturous, funny, moving performance is sparked by marvelous performances in the leading roles and the maestro's unexpectedly protean realization of the score. Ludwig at her absolute peak outdoes her own reference performance on the legendary Karajan set, other than some overacting as Mariandl in Act III. I always wondered whether Rysanek's instrument was too heavy for the Marschallin. She does some glorious singing and is absolutely inside the part, and when she lets the power out in anger at Ochs in Act III, the effect is unique and tremendous. I never before encountered the Sophie, but her singing is absolutely assured and lovely, and her characterization is apt. Jungwirth is marvelous. But ultimately, Krips is the hero, showing the listener the many facets of this marvelous work.

Rysanek and Ludwig are a magical pair as the Marschallin and Octavian.