This is a rare and worthy addition to whichever Karajan Ring you possess - studio and/or live.Ticho Parly is a little ordinary in Act One and seems just a tiny bit overparted but not enough to deduct a star. In Act Two he is sensitive, poetic, heroic...everything one wants in a Siegmund. He responds especially well to Kniplova's (in places slightly squally yet still excellent) Brunnhilde. Janowitz's familiar Sieglinde is exquisite (and better live than in the studio). Christa Ludwig and Martti Talvela are predictably first-class.Walter Berry has been commented upon thoughtfully by other reviewers. I completely disagree with Mr. Shulman's comments (although he is -of course- entitled to his opinion). I agree with David R. and Ralph M. in finding Berry generally splendid - a very satisfying performance and we are lucky to have it preserved.Add Karajan and his forces at their best and you have a very valuable document!By the way, here is the list of Valkyries in this performance:Gerhilde: Liselotte RebmannOrtlinde: Carlotta OrdassyWaltraute: Ingrid StegerSchwertleite: Lilo BrockhausHelmwige: Gerda ScheyrerSiegrune: Barbro EricsonGrimgerde: Cvetka AhlinRoßweiße: Helga Jenckel

A valuable sound source with a different date from the well-known one. At first, the recording level is low and not clear, but the sound suddenly gets louder from the second half of the first act. It's great to be able to relive the enthusiastic live by Karajan. It's a recording state where only brass stands out, but it's good to hear the song clearly.

Lots of volume changes. Performances are good.

This was the second broadcast of Die Walkure from Salzburg 1967 and had some significant cast changes. Walter Berry only sang Wotan one and a half times at the Met, cancelling his scheduled broadcast as well (Thomas Stewart replaced him). He is very fine, the voice firm and steady, the top ringing out powerfully. He is especially good in his long Act Two monologue and sings the final scene beautifully. I suspect he found the role a strain and wisely dropped it after this season. I'm grateful to have it though.Parly began as a bass-baritone, but was urged to become a tenor by one of his teachers. His may not be the most attractive instrument, but he knows the character well and sings most convincingly. He partners Janowitz very well. Most listeners will be familiar with her Sieglinde already from Karajan's studio set. She is more spontaneous in front of an audience. Kniplova sings an exciting war cry, yet her best singing is probably in the Todesverkundigung scene. Ludwig sounds like she just had a real life fight with her real life husband at the time (Berry) and lets him have it during Fricka's twenty minute scene. She is a formidable opponent - no wonder Wotan gives in to her demands. The Valkyries are a solid group. They're names aren't given, but I'm going to assume they were the same ones from the previous performance. The sound is mostly excellent with some odd and sporadic dips in volume. Karajan and Berry fans should get this!

The Valkyries are a solid group. Their names aren't given, but I'm going to assume they were the same ones from the previous performance.

I cannot agree with Mr Shulman's excoriation of Berry's Wotan; it is a tour de force and you can frequently hear how large and powerful his bass-baritone is, with proper pharyngeal resonance. Any deficiencies are to do with microphone placement and the recession of the singes on stage. He is youthful and also a fine vocal actor. Kniplova is much more than adequate if not especially striking and occasionally a wobble starts to obtrude. She was also a fine Brunnhilde in Swarowsky's rushed studio recording the following year. Talvela is imposing but sometimes forces. Janowitz is a lovely, febrile, vulnerable Sieglinde. Ludwig is superb as Fricka - her best performance. The relative disappointment is Parly's rather ugly-toned Siegmund forces a bit and starts to bleat, making me regret the absence of Vickers.Berry was to sing only one more complete performance in November of the same year at the Met; this s a valuable souvenir of a great artist in a role he inexplicably abandoned - perhaps he was aware of strains we cannot hear.

The problem here is that this recording seems to be slanted toward the higher registers. Kniplova, Ludwig and Janowitz are sonically fine, but the men, Parley and especially Walter Berry, seem to fade away. This has nothing to do with voice capacity. I think we all know how good Berry was and that this role was not beyond his abilities. It most likely could been a matter of stage or microphone placement. That said, I enjoyed the performance -- with the exception of an awful splice when Brunnhilde comes down to confront Siegmund in Act 2.

Walter Berry as Wotan? ROTFL! He can barely make himself heard over a chamber orchestra. He has zero muscle and zero volume. He does not open his mouth or lower his larynx. I give him two stars rather than one because he does make you sympathize with his suffering, on those occasions when the orchestra is quiet and his voice is audible.

the only time, Berry sang Wotan. And he is really good

Wonderful WALKÜRE.