I have written glowing reports of this set on more than one occasion in these pages, both when reviewing the performance itself or when compaing it with others. On reissue, it seems no less recommendable—indeed, more so, because it now appears at medium price. Though ideally one would have liked it transferred to CD, the sound on LP leaves one with little to complain of apart from the odd stage noise. The Bayreuth acoustic imparts a warmth and atmosphere that not studio or hall can imitate, and it was caught so accurately back in 1966 by the DG engineers that it stands up well to recent competition.
Listening to it again, I feel that, by and large, it surpasses its rivals in terms of performance—and that was RO's view when he surveyed this opera in BBC Radio 3's ''Building a Library'' feature not long ago. The dramatic truth of Bohm's direct, surgin interpretation is as overwhelming as I remember it in the theatre. So is Nilsson's Isolde, which for Wagnerian strength hasn't been anywhere near matched since on record. She is quite superb in the biting anger and frustration of Act 1, hardly less impressive as the 'melted' Isolde. As always one begins by worrying about the dryness of Windgassen's tone and ends by admiring his stamina and understanding, particularly in Act 3. Ludwig remains a nonpareil of a Brangane, Waechter a fiery Kurwenal. Talvela's Marke, younger than most, is as tenderly vulnerable as any on record. The young Schreier launches the vocal part of the work after Bohm searing Prelude, with a lyrically fresh account of the Sailor's song. I am still an enthusiast for the Bernstein set (Philips 6769 091, 10/83) and—of course—even more so for the 1953 Furtwangler (HMV mono RLS684, 10/64), due within the next year on CD, but this one is just as deserving as they of a place on the Wagner shelf. There is a bonus on Side 10—a revealing record of Bohm's meticulous preparations for his achievement.'