I like Windgassen in anything. When are we going to get a Stiedry Met ring?

It is incredible to think Windgassen sang Siegmund the previous evening (replacing an indisposed Ramon Vinay) and yet still sounds incredibly fresh for this entire performance. By 1956 he really knew the text and the music and gives an imaginative portrayal of Wagner's anti-hero that truly sets him apart from the rest of us mortals. Varnay was in excellent voice and, as Andy says in his comments above, ends the opera on a terrific top C. Her habit of scooping from under the note is heard in her opening moments, but this becomes less of a problem as the scene continues. She also fields a nifty trill, something many other Brunnhildes leave out. Hotter is also in great voice as are Neidlinger and Van Mill. Van Mill is a good Fafner with some impressive roars though this isn't his role in the way it was Greindl's. Kuen's habit of screaming his role with no concern for the written notes is annoying and wearying on the ear. He is still an effective Mime. Hollweg sings a lovely Woodbird. Madeira exudes presence and a sense of awe, her colorful contralto well-suited to Erda. Her baritonal low notes give chills.Knappertsbusch was more in tune with the score than he was with Die Walkure the night before. His slower tempi help clarify the text and don't rush the singers as many contemporary conductors do.The sound is, again, superb.Onto the Gotterdammerung!