This sounds like it was a radio concert as there is no applause and no audience noise. Other casts have given us bigger, more commanding voices, but few present the characters and drama more clearly than what we hear in this performance. One could take dictation from the clarity of the diction.Rehfuss and Borkh are probably the best known singers here. Pernerstorfer had been Furtwängler's Alberich a year earlier at La Scala. Jungwirth would become better known as Solti's Baron Ochs in his terrific studio recording of Der Rosenkavalier about two decades later.There might be some raised eyebrows at Borkh's assumption of Fricka since we're used to hearing exclusively mezzo-sopranos in the role, yet a number of sopranos used to sing the role including Nanny Larsen-Todsen who was a well-known Isolde and Brünnhilde at the Met back in the 1920s. Borkh is just as fiery and uncompromising here as she was as Elektra. Rehfuss was, perhaps, better known as a lieder singer, but he also sang many opera roles. His Wotan is beautiful to the ear, if not as specific ally as some others. His top tended to be a little short though he has no disasters in this recording. Pölzer was Rudolf Moralt's Loge a few years earlier in what eventually become the first complete Ring recording (also available from Opera Depot). Waltraut Demmer pulls double duty as both Flosshilde and Erda; her seamless, lovely contralto is ideal in both roles. Julius Brombacher is completely believable as the sniveling, whiny Mime. The Rhinedaughters make an especially persuasive trio. Ackermann leads a well-paced, fairly swift performance with an orchestra that sounds understaffed (one can barely hear the horns in the finale.)Rheingold lovers and/or fans of the singers will really enjoy this.