Rose Bampton was a fine singer who didn't get to record much in the studio so it's always good to find a radio broadcast of her in a complete role. Here we sings the Marschallin. She knows how the role is supposed to go and her characterization is always on target. She launches the trio with great skill and beauty. Cavelti, a Swiss mezzo, sings capably though the part lies high for her. Chevaline is an attractive Sophie; she and Cavelti partner each other well. List speak-sings Ochs with charm. He tends to improvise his way through the score in a way most contemporary conductors wouldn't allow. The supporting cast is fine, the brief choral bits are sung in Italian (I think).Kleiber's conducting is delightful: witty, passionate, romantic with many lovely orchestral details made clearer. Be aware that he also makes many cuts especially in Act One, including cuts I've never heard before (most of Octavian's opening monologue is omitted). Act Three begins shortly before the Innkeeper's first line; whether the prelude was cut or was missing from the original source I cannot tell.This performance was once available on the Eklipse label. Not having heard it I can't tell if this is better, worse, or the same, but the sound is very listenable and is pitched correctly.Not a Rosenkavalier to change your life then, but enjoyable and valuable because it preserves some interpretations that aren't available elsewhere.

Though others may layer on more “expression” in the role of the Marschallin, Rose Bampton scores points—as always with this artist—through the beauty and musical and technical distinction of her singing. Add Kleiber’s ebullient conducting, Emmanuel List’s patented Ochs (though he recorded the role in better voice elsewhere) and the rather good Colon orchestra, and you have a performance well worth hearing, though the other principals are decidedly second-rate.