This was the opening night of Goodall's complete Ring cycles that were played together for the first time in summer 1973, and the recording here captures the special excitement of these first cycles which swept over us at that time (as was also evidenced by EMI's taping of Siegfried from the same cycles).It would be interesting to know the provenance of this recording - broadcast? in-house recording? - but whatever the source it has fine presence and stereo spread even if it lacks the clarity of the later 1975 commercial recording. Dare we hope that recordings of the Valkyrie and Twilight from these 1973 performances may emerge from the same source? The Rhinegold performance itself shows Goodall and his singers (especially Norman Bailey) on peak form in the conductor's notably expansive interpretation. Thanks to Opera Depot for unearthing this!

For those who are acquainted with Goodall's commercially released Ring cycle (first on EMI, now on Chandos), most of the cast here will be familiar. The Rhinemaidens are different as are Fricka, Fasolt and Froh, but otherwise the ensemble remains the same. And what an ensemble it is! Everyone is good; certainly that says something for the high standards of Sadler's Wells (later the ENO). It's also great that Opera Depot has made this broadcast available after not only giving us the full Ring cycle in English, but also a complete Valkyrie from about a decade later.As Mr. Brooke mentions below, the three male leads are not only in excellent voice, but really work well together. Howard (the wonderful Witch in the famous Sadler's Wells studio recording of Hansel and Gretel) is a regal, commanding Fricka while the two giants are well-contrasted both in voice and personality. Grant's sleek, beautiful bass is always a pleasure to hear and he makes a sinister, manipulative Fafner. Sarah Walker is easily identifiable as Wellgunde. The Rhinemaidens make a very satisfying trio indeed. The orchestra has its scrappy moments, but plays this difficult score well for Goodall.The sound is from a very good stereo broadcast tape that really allows one to follow the movement on the stage. I hope Andy can keep these fine performances from the ENO coming.

It will surprise no-one that the Rhine flows rather sedately at this stage of its progress through the opera houses of Europe, but generally slow tempi yield carefully managed momentum at many points. In particularly, the 3rd scene is an absolute triumph. Overall, this is a performance that develops powerfully, in typical Goodall fashion. The first scene does not quite achieve a playful or seductive atmosphere, particularly at these speeds, but there is ample recompense in what follows. Orchestrally, there are one or two wobbles in exposed passages, but nothing to trouble any but the most fastidious of listeners. Ensemble work is a major strength - Hammond-Stroud, Bailey and Belcourt in particular strike sparks in their exchanges. All three are in excellent voice. The sound also is impressive- lower strings very much to the fore, but with overall clarity, very little stage noise, and nothing to suggest an audience, until the concluding applause. The only villain of the piece is the translation - the mixture of archaism, colloquialism, and Scrabble hacks gains nothing by familiarity from other Goodall performances. Huge thanks to Andy for making this recording available.