Gertrude Grob-Prandl was one of those terrific singers who worked steadily after WWII, but never seemed to get the promotions from the right people. The big publicity projects always went to someone else and Grob-Prandl had to take what was left over. There are two extant performances of her Isolde; both are worth hearing. She wasn't as textually specific as Varnay or Mödl and perhaps Nilsson had the more beautiful instrument - though not by much. Certainly Grob-Prandl's top notes are every bit as impressive as Nilsson's. Ultimately she lacked that last bit of interpretive spark; there's no one like her today.Rudolf Lustig was a good singer, a good Tristan. He knows what he wants to do in the role, but his voice wasn't meant for it. He speak-sings his way through an uncut Act 3, just making it to the end. At least he doesn't wobble all over the place. Milinkovic is an excellent Brangäne and Blankenheim sounds like Kurvenal to the life. Böhme brings his powerful presence and clear diction to Marke, also his rather flinty, hard voice. Julius Patzak and Hugo Meyer-Welfing bring decades of experience to their small, important roles. Cluytens conducts superbly. There is an urgency throughout the performance that heightens the drama. He plays the opera nearly complete, only making the traditional cut in Act 2.The sound is unusually clear for a 1956 broadcast. Tristan lovers must hear Grob-Prandl as Isolde and this one is in better sound than the La Scala performance.

Surprised about the warmth of Grob-Prandls Isolde, surprised about the baritonal, manly timbre of Lustig, who gives two excellent acts and manages to come trough the Fiebervisionen of act III sufficiently. And surprised about the sound quality. Supporting cast is quite good including a gem of Seemanns voice for any Patzak admirer.Cluytens' conducting is rather slow, but fluent and transparent.Not one of the must-have Tristans but an interesting nice to have.RObert