The Mahler is a sad case. Kindertotenlieder, here transposed up a minor third (presumably to accommodate the soprano range) audibly taxes Kirsten Flagstad's apparently waning powers (she was in her 62nd year at the time of this recording). The glorious voice, especially her uniquely rich timbre, is still recognizable, but her high notes are precarious, nowhere more so than at the beginning of "Nun seh' ich wohl". Flagstad does distinctly characterize each of the songs, however, which is more than can be said for her Wayfarer Songs, where she sounds a bit tired and uninspired by the whole business. Adrian Boult has the Vienna Philharmonic playing with a precision and focus that is exceptional given the dismal Strauss they were recording circa 1956, though interpretively he colors strictly within the lines.

The Wagner selections were recorded a year later, but Flagstad paradoxically sounds as if she were years younger. Now here is that legendary ringing top, secure and solid tone, dynamism, and exquisite shading. She actually holds your attention throughout the heavy weather of Wagner's Wesendonk-Lieder. In the arias that follow, Flagstad's vivid recreations of Elsa, Kundry (though she's a little tame here), and especially Sieglinde certify without a doubt that Wagner was her thing, and it brought out the best in her. The same goes for Knappertsbusch in his radiant readings with the VPO (listen to Lohengrin's shimmering strings!). The vintage Decca recording makes use of the Sofiensaal's gorgeous acoustic to place voice and orchestra in ideal perspective. All told, this amounts to a half-desirable item for Flagstad fans.

--Victor Carr Jr.