This is a fine performance of Siegfried though not quite on the level of the two proceeding operas in this cycle. Aldenhoff clearly knows his way around this role and is very effective dramatically, but as a friend of mine would say "Sheesh, dat voice!" His braying vibrato and sometimes wildly sharp top notes take some getting used to. Kuen's Mime is also well characterized, but he tends to scream much of the text at higher pitches than Wagner wrote so he sounds hysterical too much of the time.Varnay sings a very tender Brunnhilde, making every moment count. Her habit of scooping up to notes begins to become a little annoying, but it's a small price for such artistry. Ilosvay continues her marvelous Erda while Greindl is a terrifying Fafner. Neidlinger and Hotter are at the height of their powers and deliver powerful performances. Hollweg is a beautiful Woodbird with excellent diction. Knappertsbusch is more "on" here than he was the previous year, the pacing natural and moving organically from one section to another. The sound is excellent broadcast mono. Onto Gotterdammerung!

This may be my favorite Siegfried recording. As opposed to his very lethargic 1956 Ring cycle, Knappertsbusch was on in 1957. The energy is palpable and the forward momentum is unstoppable. Astrid Varnay displays her usual scooping but that is a small price to pay for her strong, steady, expressive voice. Bernd Aldenhoff is somewhat of an acquired taste, with his unusual voice production in the higher ranges. Once you get used to that, you can appreciate the beautiful lyric singing he gives in the forest murmurs and duet with Brunnhilde. Hans Hotter is a bit below par vocally, but top of the heap interpretively. Knappertsbusch's conducting is absolutely ideal. And the sound is very good, better than the 1956 Ring where the orchestra is so distant. I can recommend this recording without reservations.