Everything in this magnificent performance of Rosenkavalier -from the pointed, masterly conducting of Leopold Ludwig down to the smallest role- simply seems “right”, and I refer you to Andy’s review and that of David Reynolds, with most of which I agree (perhaps I enjoy Oscar Czerwenka’s buffo-centred -yet beautifully sung and vividly-characterised- performance...what wonderful diction!... as Ochs even more than DR?)But there’s more. Researching the rest of the cast in Glyndebourne Archives is fascinating...and one quickly realises that we are in the presence of operatic/musical history. Nancy Evans (Annina) was an original member of Britten’s English Opera Group, was Kathleen Ferrier’s alternate as Lucretia at Glyndebourne in 1946 -and sang the role in the first, abridged 1947 recording under Goodall. Furthermore, she was the original Nancy [appropriately named!] in Albert Herring (1947).

And there's more: the presence of Harold Williams as one of Ochs’s Servants is important. Williams was a great Australian baritone of an earlier generation, noted in opera but mainly in oratorio and concert, making his reputation and the larger part of his career in the UK. He was one of the chosen original soloists, both in Coleridge-Taylor’s Song of Hiawatha and in Vaughan Williams’s Serenade to Music. He sang in the first performance of The Dream of Gerontius (often working with Elgar himself), sang at Elgar’s Memorial Service in 1934 and at the Coronation of King George VI and Queen Elizabeth in 1937. I believe that Williams also sang in every Prom season from 1921-51! He also performed in major roles with the British National Opera Company and at Covent Garden. A very busy and sought-after singer, Williams also found time in 1952 to appear as the Judge in a (very) abridged version of Trial by Jury in the film The Story of Gilbert and Sullivan...brilliantly, I might add! Later in his career a long-term member of the Glyndebourne Chorus, at the point of this Rosenkavalier he was Chorus Manager. How did he find the time for everything!

Another quick look down the cast list reveals Dennis Wicks – a stalwart member of the major British opera companies and later a famous Ochs with English National Opera- and Julian Moyle, whom I remember as a very valuable member (also) of ENO and Welsh National Opera, especially as a wonderful Rossini baritone with a very flexible voice...and he got married in 2022 at the age of 95! Finally, there’s Hervey Alan (in the brief but important role of the Police Inspector), another major opera/oratorio bass of the ‘40s/’50s/’60s; he created the role of Mr. Redburn in Britten’s Billy Budd in 1951.Anyone care to add any more supporting singers from this cast to my piece of history?

Just looking at this cast is mouth-watering - and everyone lives up to her/his billing in the performance! The sound is only average, but it's listenable and Andy has pitched the recording correctly. Crespin would, perhaps, dig deeper into the text as she became more experienced in the role, but she is already pretty wonderful here. Her singing is meltingly beautiful and she launches the trio superbly. Soderstrom had already sung Sophie at the Met earlier this same year (1959); here she is an exquisite Octavian. As a soprano, she has no problem with the high tessitura and she blends beautifully with Rothenberger (a marvelous Sophie). Czerwenka sings very well as Ochs and is an audience favorite given their reaction to him throughout the performance. He has to work for his lowest notes (no low C on his exit in Act One), but is so charming one feels sorry for his rude treatment in Act Three. William McAlpine sings the Italian Tenor extremely well and Nancy Evans is a delight as Annina. Ludwig conducts with great authority and obvious love for the score.If you love Rosenkavalier, you'll want to hear this.