Uhl sings Loge very persuasively without resorting to barking to make his points.

Knappertsbusch's pacing of this Vorabend benefits from his great experience in the theater. The Prelude is leisurely, but not slow (in fact it is quite a bit faster than some others). There is a weird clacking noise that is heard in the first couple of minutes; I have no idea what it is, but I've never heard it in any other Rheingold from Bayreuth (a stage noise?). Fortunately, it is gone by the end of the Prelude.The Rhinedaughters, led by the charming Dorothea Siebert, are superb. For whatever reason, Neidlinger took two seasons off from Bayreuth. His replacement, the Danish baritone Frans Anderrson, is excellent, if without Neidlinger's imagination and experience. Hotter has his moments although here he is not quite as solid vocally as he had been in previous seasons, his voice a little unsteady and woofy (perhaps his allergies were acting up). Gorr brings a femininity and grace to Fricka that isn't usually heard. Stolze sings his first Bayreuth Mime with less of the shouting he would indulge in later on. Uhl sings Loge very persuasively with resorting to barking to make his points. The other singers all sing and characterize well, all making strong contributions to a strong ensemble cast.The sound is warm and clear. This is a superb beginning to a great cycle.