The beginning of this recording is a little murky, but an audible splice to another source after a minute or so improves matters considerably. Anyone familiar with Goodall's Rhinegold recording for EMI (now on Chandos) will know how good these singers are and how lucid Andrew Porter's translation is. Some of the roles are performed by different singers. The Rhinemaidens (more accurately the Rhinedaughters) are an excellent trio and Ann Howard is a vivid Fricka who makes every line count. As noted by some other reviewers there is a ninety second splice from another performance in German to cover a gap in the tape when some of the original recording was lost in transmission. It is just before Erda's scene - not a big deal though.Although clearly respecting Goodall's intentions, Mackerras does not dawdle and this performance has more "oomph" than his colleague's.

This "Rhine Gold" (it's performed in Andrew Porter's translation) has two strikes against it. One, the sound is only mediocre, especially at the climax. Two, Sir Charles Mackerras -- deputizing for an indisposed Reginald Goodall -- seems only spasmodically involved. Mackerras has done better in Wagner than this. One of the principals is problematic: Emile Belcourt's Loge, an operetta tenor, will be sandpaper-on-nerve-ends to some listeners. Otherwise, the cast is of exceptional strength, especially when you consider that these were supposedly lean years for Wagner singing. The dominant performer is Derek Hammond-Stroud, whose demonic performance benefits further from Mackerras' singer-friendly tempi. Norman Bailey is one of the greatest of Wotans, godlike in every respect and has a forceful consort in Ann Howard. As the giants, Robert Lloyd and Clifford Grant are pillars of strength, while Gregory Dempsey is an exceptional Mime. Although I've not mentioned many cast members, that is not to be taken as throwing shade on their contributions and everyone articulates the Porter translation with exceptional clarity, even when ill-served by the sonics. Wagnerites will want this and the uninitiated will find this an easy portal to Valhalla.

I heard Mackerras conduct all the other operas at one time or another, including the production premiere of Siegfried. I thought he was exceptionally good, vivid, plenty of weight but always more flexible and at the service of the scene than Goodall’s tempi allowed. A less distinctive vision, perhaps, so he was underrated; but his other Wagner work, including his Meistersinger DVD, confirms his standing. He also, of course, made an LP of Gotterdammerung excerpts with Remedios and Hunter, for CFP.Goodall’s tempi for his unfinished WNO Ring, incidentally, were much closer to Mackerras and indeed Solti.