The reissue of this now elderly performance of Der Freischdtz is of interest chiefly for some classic performances. The most impressive of these is Gottlob Frick's Kaspar. Flashing with a sinister allure in ''Hier im ird'schen Jammertal'', he changes character as soon as the hapless Max has gone and steps forward with a terrifying account of ''Schweig! Schweig!'', curling his phrasing around the music with evil relish and deploying his most Schwarzalberich tones; he is at once edgy and determined as he sets about persuading Samiel to allow him to substitute Max for himself as victim. Rudolf Schock sings lyrically and tenderly as Max, though he is cast a little too much as the primo tenore rather than as a part of Weber's fantastic orchestral expression by being set, like most of the singers, rather too far forward. Claire Watson is an affecting Agathe, with a gentle directness of emotion in ''Leise, leise'' that is very touching. She has at her side a lively Aennchen in Lotte Schadle, even if the soubrette bounciness has to worked for a little. There are plenty of stage effects, including an extraordinary rattle of approaching feathers followed by a loud thump as the shot eagle crashes to the ground: this is always a tricky moment for anyone with any sense of humour at all. There is, of course, a wealth of accompanying din (including a grunting boar) in the Wolf's Glen, which comes off with its usual gruesome effect.
Matacic is sometimes rather too expansive with the score, but he gives a firm and distinctive performance. I would not now commend the set above the Carlos Kleiber (for DG), but it is god to have a chance of hearing it again. There is a synopsis in four languages, and the German text with a rather free English translation, including much of the original dialogue.'