The sound on this recording is much better than one might expect for the date (1936). But the Teatro Colon made recording complete operas a priority. I have heard Fliegende Hollander, Der Rosenkavalier, and Parsifal from this series. They have their sonic flaws to be sure, but a careful transfer can yield excellent results as is the case here. Yes, there are sudden brief volume drops, off-mike singers, and skipped grooves here and there, but someone took the time to pitch everything accurately and the basic sound is very listenable.Germaine Hoerner refused to make studio recordings so this Lohengrin and the Rosenkavalier with Lemnitz are the only documents of her voice. She is a passionate Elsa, her vibrato a little faster than we're used to nowadays, but there is a lovely bloom on her tone especially on top. Maison has a few intonation issues, but sings so poetically you won't care. Lawrence has all the intimidating presence one wants as Ortrud. It must be admitted that some of her highest notes are occasionally flat, but she certainly is exciting (she receives an ovation after her second act curse). Destal is good as Telramund although the voice itself is rather dry. Kipnis is a luxury as the King and Fritz Krenn is a more than capable Herald.Busch makes a few cuts we're not accustomed to today, but overall plays more of the opera than was customary at the time. He also takes faster tempos than are generally heard today. A valuable document of a long gone era!

The usual cast list is absent for this (wonderful) issue. Note that FRITZ KRENN is the Herald; can anyone add any details of the minor characters?

The main interest of this record is to hear, at last, the voice of Germaine Hoerner, the most hatred rival of Germaine Lubin. And Germaine H is quite a nice artist and beautiful voice. It is really a pity that she always refused to record any disc.

5 stars