When Philip Hope-Wallace first reviewed the Sawallisch/Bayreuth set back in 1962 he suggested that you had to choose between the relative merits and drawbacks of live—the Sawallisch—and studio-made—the Konwitschny—performances. The dilemma still faces the potential buyer: those listening to these two sets may either prefer the perfection and clear balance of the Konwitschny (Berlin recordings at that period were superb) or the immediate, theatrical excitement of the theatre. PH-W tended to favour the former, I go for the latter—but my decision rests on many factors other than the provenance of the recordings. Konwitschny's reading is in the grand, old romantic tradition, favouring slow speeds and a lofty approach to the score and, according to its lights, boldly executed. The young Sawallisch, a more exciting Wagnerian in those days than he has since become, catches all the fire and vision of early Wagner in an inspiriting, highly dramatic reading, appreciably faster than Konwitschny's.
Where the singers are concerned, Crass cannot rival the subtlety and breadth of Fischer-Dieskau's Dutchman, but by the same token Crass's dark tone, firm legato and internal anguish come closer to the core of the character than does the more sophisticated singing of his rival. Indeed the underrated Crass, sounding surely as Herbert Janssen must have done in the part, is among the best interpreters on disc, in the class of Hale (Dohnanyi) and Adam (Klemperer), not forgetting Hotter (Krauss, Pilz (CD) 442118-2). Silja's elemental, urgent, obsessed Senta is still better. Even more than for Klemperer, she is the youthful, desperate Senta of Wagner's imagining, rivalled there only by Rysanek (Dorati) and Behrens (Dohnanyi). By Silja's side, Schech sounds matronly and uninvolved.
In the lesser parts, Konwitschny has the edge. As Daland, Frick is sturdier, steadier, more in tune than Greindl and just about as characterful. Schock, though not an ideal Erik, as are Seiffert (Steinberg) and Protschka (Dohnanyi), has a more positive and likeable tenor than Uhl. Wunderlich's Steuermann is in a class of its own. Both Marys are good. The chorus at Bayreuth, superbly and energetically led by Sawallisch, inevitably sound as though they are part of a real event; the Berliners are fine, but studio-bound. Of course on Berlin Classics you won't hear the various stage noises attendant on the live Bayreuth recording.
There are some textual differences. Konwitschny directs the one-act version complete. Sawallisch chooses the three-act rescension, but omits the repetitions thus involved so that Act 2 begins with the Spinning Chorus. He also observes a traditional cut in the Act 3 trio and, for reasons he explains in the booklet, transposes Senta's Ballad up a semitone, something that troubles Silja not at all.
Where price is concerned the Konwitschny is inexplicably reissued at full price, where it can't compete with the recent and recommendable Dohnanyi set. The Sawallisch, at mid-price, is a reasonable, contrasted alternative to the Klemperer: in different mood I will enjoy both. At the budget end of the market, the Steinberg remains excellent value. Almost all versions ever made are now available: the one exception, an important one, is the Decca/Keilberth (5/56), also from Bayreuth, with Uhde as perhaps the best of all Dutchmen. With the Decca Meistersinger of that era now announced for reissue, can this Hollander be far behind?'