The well-informed insert-note in German for the EMI set (much preferable to its inadequate English counterpart) by Thomas Voight, Co-Editor of our contemporary, Opernwelt, tells us of the importance of this long-unavailable performance, one which preserves a German tradition in interpreting Lohengrin that has now been virtually lost. I had not managed to hear it before, and found much in its favour, not least Schuchter's taut, theatrical conducting which restored my faith in the piece after listening to Sir Colin Davis's dull-dog of a reading on RCA (11/95). Schuchter manages to keep the sprawling score constantly on the move, never lingering unnecessarily, yet never seeming to hurry his cast unduly.
And it is a cast of singers who fulfil nearly all the stringent demands made upon them. Schock, with a Heldentenor of the old school, sings an impassioned, lyrical yet paradoxically heroic account of the title-role that leaves almost nothing to be desired, culminating in a spontaneous Narration and a full-hearted Farewell. Klose's Ortrud is simply tremendous in every respect. She nicely contrasts her smiling, falsely loyal tone when obsequiously addressing Elsa with her frightening imprecations not many bars later when confronting her in front of the cathedral. At the same time she puts heart into her Telramund through her strongly articulated encouragement. This is an interpretation that can stand comparison with the very best Ortruds on CD, such as Varnay and Ludwig. She is fittingly partnered by Metternich's trenchantly sung Telramund, a baritone who makes his points without any resort to barking or Sprechgesang. Only Uhde in the 1953 Bayreuth/Teldec version under Keilberth is Metternich's peer.
As Elsa, Cunitz has her tremulous moments and whilst her top is not her strongest suit, she understands the role, sings many a pertinent phrase, not least in her two solos, and so belies her reputation for marring this set. Frick, as King Henry, is a tower of strength, superior to any other in the part. The North German forces sing with wholehearted conviction. The mono sound is admittedly restricted, but at least it places the soloists in the forefront where they should be.
The Sawallisch version also has much to commend it, not least his direct, unfussy direction, very much in the vein of Schuchter's (both make the small cuts, approved even at Bayreuth). Thomas's Lohengrin has much in common with Heppner's on the Davis set: fresh tone, appealing lyricism but not quite the romantic ardour of Schock. Silja's rapt, girl-like, believing Elsa, sung – incredibly – when she was only 21, remains singular, unlike any other, wholly convincing in its own right, and in comparison with that of Cunitz. Varnay, though remaining a formidable Ortrud, isn't the equal, now that her voice had become squally, of her younger self on the Keilberth version or of Klose. Vinay, back as a baritone after his notable exploits as a tenor, is a histrionic force to reckon with, but his delivery isn't as idiomatic or compact as either Uhde's or Metternich's. Crass is a concerned King without quite the bottom, in both senses, to appear as authoritative as Frick. Krause's Herald is a definite improvement on his EMI counterpart – but here Terfel for Davis is supreme.
Both these versions are well worth consideration at mid price alongside the Keilberth – the classic Kempe remains at full price. If sound is of the essence for you go for the Sawallisch which catches the spacious Bayreuth acoustic at its most impressive as, in its mono way, does the Keilberth. The other three all have something special to offer in the way of vocal interpretation that I would hate to be without. Your critic isn't fence-sitting: it's simply the fact that in such a long and involved opera as this it's hard to pick outright winners – though at the moment I do find both the Schuchter and Sawallisch mightily impressive.'