Simon Estes, the American bass-baritone, has been a magnificent Dutchman for several reasons now at Bayreuth, conveying the frustations and torture of the character through both his personal magnetism and his concentrated tones. Much of that is conveyed here in the First Act monologue, an interpretation to match some of the most telling of the past, such as Uhde's and Hotter's. As Wotan, a role that he seems to approach from without, he is less compelling. The singing remains weighty and intelligently articulated, but here his pitch is fallible, his reading more ordinary in both the Monologue and Farewell. I liked the brief interjections of Eva-Maria Bundschuh, an East Berlin soprano, as brunnhilde.
As Amfortas Estes is once again at his very best, bringing out the anguish and pity in the music, both in his rich, intense tone and his well-considered diction—the cries of ''Embarmen'' truly searing; again, this must rank with the best interpreters of the past. It is time Estes returned to Covent Garden, where he started his career in small roles. The orchestral contribution, under a house conductor of the State Opera, is no more than adequate. The recording tends to favour the singer, who—make no mistake—is the rarity today, a really heroic bass-baritone. Side 1 lasts 35 1/2 minutes, so good value here too.'