This may have been just another repertory night in Munich but it sounds pretty good from our present vantage point. Thanks to Wolfgang Sawallisch's fleet, solicitous leadership, it's bel canto Wagner, delivered by a cast few of whom ever achieved stardom. More's the pity, in some cases. Astrid Varnay gets things off to a very authoritative start as the First Norn. Two interpreters herein were ubiquitous in their roles: Zoltan Kélémen's biting Alberich and Karl Ridderbusch's languid-yet-menacing Hagen. Ingrid Bjoner, whose timbre sometimes sounds quite Varnay-like, nevertheless lacked the individuality that would have translated into a front-rank career, laboring in the shadows of Nilsson and Rysanek. Our loss, for she is an involved Brünnhilde, equal to the role's demands. Jean Cox also never quite made the first tier of Wagnerian tenors, even though Siegfrieds are always in short supply. He provides a vocal illusion of youth, singing with a liquid, Italianate timbre rarely found in this role.Having crested the ridge of this cast, we proceed to the downhill slope. Ortrun Wenkel is a competent Waltraute without being a memorable one. She's high heavens above the Gibichungs, though. Hans-Günther Nocker's well-worn Günther is at least acceptable. Leonore Kirchstein's crabbed Gutrune is not even that. The Second and Third Norns are decent without being on Varnay's level. Made from a seat in the audience, the recording captures the three principals' voices well, but other singers are at a distinct disadvantage, whether from stage placement or lack of vocal displacement one cannot definitively say.

I placed this order #40770 on 8/10.23 and I have never received it!

The recording is very good and I like it very much since I saw this performance at this time

Here we arrive at the last day of Wagner's Ring cycle in Munich. Sawallisch leads his mighty forces through an exciting rendition of the opera cast from strength. The three Norns are superb; Varnay's voice may be sounding its age, but there's little she doesn't know about how to sing or interpret these characters. Hillebrecht and Falcon are equally impressive. Bjoner sings Brunnhilde very well, so well in fact that it's a shame she didn't sing her more often. Ridderbusch and Cox are first-rate. The Gibichung siblings are both very fine (Kirschstein lets out a hair-raising scream when told of Siegfried's death). Wenkel's rich, beautiful contralto is most effective as Waltraute. Andy lists Zoltan Kelemen as Alberich, but I think it's Klaus Hirte. The Rhinemaidens, made up of Munich regulars, are equally good, but they're off-mike much of the time in their scene.This performance was recorded by some intrepid person from various places in the house. When the singers move upstage their voices become recessed. There are several obvious splices from different sources, especially towards the end of Act One. All the same, I am grateful that someone took the trouble to record this as there is no commercial representation of Bjoner, Varnay, and Hillebrecht in these roles. Yes, one has to deal with uneven sound. It's all worth it though when one can listen to a cast as good as this.