The background hiss on this recording is unreal. It must be at most 9dB less than the actual music. Borderline unlistenable. Pay close attention to the sample above. The entire thing is that bad.Really regret buying this now.

It's a decent performance but riddled by hideous cuts...especially the second act. Even the ensemble after Elizabeth's entreaty is whacked. VERY disappointing.

Great! Wish i could download this fantastic recording for free, im not able to purchase it right now.

This recording is something of a "sleeper". I bought it primarily because it was in English, but it turns out to be a compelling performance with excellent principals. I'll admit I couldn't make out a lot of the translation, but enough can be understood to follow the basic plot. There are a few dated turns of phrase - inevitable given that this was recorded nearly 60 years ago - but Opera in English and Wagner lovers should make an effort to hear this.I'd heard of William Aitken, but never heard him. Tannhauser is a bear of a part and Aitken provides beautiful singing and great stamina. He may not explore every aspect of the character, but his achievement is all the more impressive when one reads (see Alec Botten's review) that he learned the part in less than two weeks. Marie Collier's distinctive vibrato and soaring top register serve her well as Venus and one regrets her part isn't larger. The Dresden version of the score is used here and she follows Wagner's stage directions and gives a cry at her exit in the first act (in the Paris version Venus just disappears at Tannhauser's invocation of the Virgin Mary). Judith Pierce was Helmwige for Leinsdorf's studio Walkure and her high notes are particularly impressive. She is a lovely Elisabeth too. John Lawrenson sings a touching Wolfram and Stanley Clarkson a sturdy Landgraf. Andy writes that the sound is only fair, but I found it very clear and listenable. Highly recommended!

Variable but interesting. I bought it because William Aitken was the first tenor I heard live (Almaviva in Barber of Seville, in 1955; yes Rossini) in a week he also sang Rodolfo and Duke of Mantua. He learnt Tannhauser in 12 days for this BBC broadcast, and this is the only recording of him I have traced. Live he had more projection than comes across here. He is though solid and is untiring in a part that is a challenge for any tenor. However, the male voices do not have as much presence as the female. The Wolfram is John Lawrenson by the way, not as advertised.