Buena grabación, con los inconvenientes del sonido de la Epoca, pero ya tenemos el oido adaptado a estas grabaciones. Muy buena.

If you want to hear De Los Angeles as Elsa this is your only option; fortunately, the broadcast has survived in very good sound. Our diva sings very well though her tone is thinner sometimes just when you want more luster. She has no trouble with the top notes and she portrays Elsa's tortured innocence very convincingly.Ludwig gives her a real run for her money here and in some ways emerges the Victor. She sings with that sumptuous, rolling tone for which she was so famous, the top ringing out with excitement, her characterization devious and hateful. Her Curse wins a lengthy ovation into which she interpolates a deliciously wicked laugh. Self-indulgent perhaps, but entirely appropriate. After her final "Fahr heim!" outburst, she expires with a low moan, following Wagner's stage directions. I love it. I love her!Uhl is a good Lohengrin, the voice serviceable, but undistinguished. He'd be very welcome in today's opera world. Alexander is a good, blustery Telramund making the most of a mediocre voice. Crass makes us look forward to rather than dread the King's pronouncements. Mastromei shows his potential as the Herald. The chorus sings well, but in Italian (or is that Spanish?). The first tenors sing a great top C in the last act. Matacic leads an elegant performance with only a few cuts (Lohengrin can do with some tightening up).The sound is very good, a few glitches in the original tape aside.If you love the opera or the principals, this is for you!

Lovro Von Matacic led the (not very) arguably finest LOHENGRIN on commercial CD: Bayreuth 1959 from Orfeo, so it's only fitting that he turns up leading one of the most celebrated private recordings. Fritz Uhl's plangent tenor is apt to Swan Knight's emotive passages, less so to his martial ones. But it is the women who dominate the show. Victoria de los Angeles' name was never more appropriate than here, portraying Elsa with saintly purity of spirit (and tone). One harkens to her every utterance, as one to the fierce, gleaming Ortrud of Christa Ludwig, throwing caution to the winds in a performance that stops the show after "Entweihte Gotter!" The men range from excellent (Franz Crass' King Henry) to above-average (Gianpiero Mastromei's Herald) to just adequate (Carlos Alexander's Telramund). The usual cuts are taken, along with one or two that might catch you by surprise. The sound is average broadcast mono but it cannot dim the luster of Ludwig or of de los Angeles' purity of emission,

Nothing is better than Victoria de los Angeles. What a remarkable artist!

I bought this Lohengrin specifically for Victoria de los Angeles whose Elsa I had wanted for some while and I wasn't disappointed. She presents a very young, sweet girl, a traditional Elsa (this was 1964 -- the Elsas who ask the forbidden questions boldly and then embrace Ortrud in the last scene were decades away), and she is in beautiful voice, the top soaring.