Recorded in 1961, this excellent set replaced for many people its predecessor, made in the mid 1950s under Jaroslav Krombholc (Cetra, 8/57 – nla). With the exception of Vera Krilova in the small part of the Third Woodsprite, the only survivor on to the new version is Eduard Haken, one of the great interpreters of the Watergnome and in robust voice, infusing the somewhat enigmatic character with a rueful gentleness as well as a firmness of utterance. Ivo Zidek takes over from Beno Blachut as the Prince, and in his mid-thirties he was in his prime, singing ardently and tenderly and with a grace of phrasing that matches him well to Milada Subrtova’s Rusalka (her predecessor was Lida Cervinkova). Hers is a beautiful performance, sensitive to the character’s charm as well as to her fragility and pathos. The Slavonic tradition of the old watersprite legend places her in the line of the suffering heroine, one in complete contrast to the livelier Undine of Hoffmann or Lortzing; it is a measure of Dvorak’s success that her delicate appeal holds throughout quite a long opera, and her sinuous but never over-sensual lines and the piercing harmony associated with her give her a unique appeal. Subrtova sings the part with unfaltering sensitivity.
Of the other parts, Marie Ovcacikova takes over from Marta Krasova, and makes the witch Jezibaba the more alarming by singing her with at times an almost sinister lightness of touch; while Alena Mikova is now the Princess in place of Marie Podvalova. Zdenek Chalabala, who died only a couple of months after completing this recording, handles the score with great tenderness and an affection that shines through every bar. He was sometimes underrated as a conductor: this is a beautiful performance. The recording comes up remarkably well; and the booklet includes full text and translations into French, German, and – one or two unfortunate turns of phrase apart – quite reasonable English.'