
This 1971 recording has always stirred controversy: Some feel its Viennese-ness is overdone, especially by Fischer-Dieskau as Falke, but others, like myself, just love its
I have had a weakness for Italo Montemezzi’s dense, post-Wagnerian, vaguely impressionistic L’Amore dei tre re ever since I heard an old Cetra set with