This, the third version of Strauss’s opera on CD conducted by Karajan, was recorded at the opening of Salzburg’s Grosses Festspielhaus in 1960. In certain respects it is superior to either of the others. Although Karajan’s reading remains, as always, a slowish one, he is not nearly as self-indulgent as in the studio a few years earlier or some years later – you can hear what I mean in the crucial moments at the end of Act 1, while his subtle, transparent treatment of the orchestra is again supreme. You also hear how in the theatre he ‘goes’ with his singers in interpretative inspirations borne of the frisson of singing before an audience. And, although the recording is obviously not as good as on the other versions, the sound of the Vienna Philharmonic strings in the new theatre is glorious; they are obviously aware of being part of a great occasion at Salzburg.
In Lisa della Casa, whom Karajan chose in preference to Schwarzkopf (although the latter sang at a later performance), we have the most heartfelt, the most elegiac of his three Marschallins, quite as detailed and subtle as the controversial Schwarzkopf on the famous EMI set, a shade more natural in her responses, and greatly helped by being caught live on stage. Her keen, beautiful tone, immaculate movement between notes and finely accented phrasing are ideal; only the last ounce of vocal warmth, such as Lehmann and Crespin brought to the role, is missing. Sena Jurinac remains, as on the Erich Kleiber set, a nonpareil of an Octavian, impulsive, ardent, petulant, very funny as the role requires (as in her amusing but never overdone Mariandl), and so rich in tone, although the young Ludwig is a close contender in every respect on the EMI version. Gueden remains a silver-voiced, mettlesome Sophie, and although in the high notes, and once or twice in the ‘Silver rose’ scene, her intonation are not as fine as on the Kleiber set, she remains preferable to Stich-Randall’s pallid effort (EMI, 11/59R) and the inadequate Perry (DG, 9/84) (see Selected comparison for both).
As Ochs, Edelmann is very much a presence (as he was on EMI). Although his diction is always pointed, he’s not quite the equal in that respect of Kleiber’s all-enveloping Ludwig Weber. Of the rest, Zampieri makes perhaps the best Italian Tenor on any set, the intriguers are good and Kunz is an experienced, properly fussy Faninal. Karajan here makes even more cuts than on the already foreshortened EMI set (Kleiber is, of course, complete). Overall, Kleiber remains the greatest recording ever and Haitink (complete) is an excellent modern alternative, but this set is a most attractive adjunct to the mainstream alternatives, not least for della Casa – though Schwarzkopf enthusiasts will remain faithful to EMI’s beautifully recorded version.'