This recording of I Maestri Cantori di Nurembergo has been published on CD several times already by both the Datum and then Myto labels. Both times the sound was stereo (or it was most of the time). I don't know which tape Andy got hold of, but there is crunching distortion here in the first scene of Act Three that is NOT on the other two sets. It especially affects the scene between Eva and Sachs. The rest of the time the sound is excellent.The performance itself is a fine one. This opera goes well in Italian; in fact, it sounds even more lyrical than in German and the singers sing it as if it were bel canto, something Wagner would have greatly appreciated. Taddei's voice, as always, is not perfectly steady, but he brings a warmth and humanity to Sachs that anyone can appreciate. My biggest complaint is that the singers of Eva and Gualtiero (Walter) are misidentified and have been for years. In Datum's booklet notes the writer speaks of Elena Rizzieri and Alvinio Misciano as singing the lovers. This don't sound like Rizzoli and Infantino to me; I know their voices well. Rizzoli did sing in a later 1964 broadcast of this opera with Taddei and Christoff under Serafin. Perhaps that's where the confusion lies.At any rate, Meistersinger fans should hear this because of its many strengths. Don't allow it's being in another language deter you. The distortion-free version can be heard on YouTube.

Second paragraph: This doesn't sound like Rizzoli and Infantino to me; I know their voices well.

El idioma quiere decir mucho y Taddei, aunque es un muy buen cantante, no es el Maestro Sachs.

I enjoyed this performance. Wagner does take on a different colour in another language. This cast performs well. Taddei is always interesting and he has some fine moments here, but even with some pretty big cuts he does start to tire towards the end of the final act. Renata Capecchi is terrific as Beckmesser and even got a bit of sympathy from me. The Walther is ok, with a tendency to sing forte as default setting. I liked Rizzoli as Eva very much. She sings with clean tone and attack. I confess that hearing the so distinctive sound of Christoff in this so German music at first was a little strange, but you get used to it. I wish he did some more imaginative phrasing, but otherwise is fine. The sound is good. In the last act particularly the recorded balance of the chorus made me laugh as the enthusiastic tenor section are very to the fore. All in all recommended as a fascinating document of a tradition of Wagner in the vernacular which we see much less of these days.