The particular difficulty of the Knight is to bring three female voices shock, which form a more perfect harmony between them. The trio here may not be unanimity (including the karajanesque light), but it remains nevertheless exceptional.
With a voice that tends to accuse the appearance of wrinkles and increased lightness, Marianne Schech finally embodies a larger than life Marschallin. She faced her voice Irmgard Seefried angel, even (relative) poor form, and clear treble Rita Streich (which for the record, was originally to be Sophie's Karajan, but was prevented for due to maternity). We can always criticize Kurt Böhme, but we will remember that in the Karajan version of the Ochs Edelman, with all its qualities, it is not vocally impeccable (and at least with Böhme is it has a "real" bass that does not require transposition). The almost ideal Baron competing versions of these probably being that of Erich Kleiber (the exceptional Ludwig Weber).
With luxurious roles as second (Fischer-Dieskau in Faninal, Gerhard Unger in Valzacchi, Sieglinde in Wagner Annina) and Karl Böhm that displays a complete mastery of the orchestra and the balance of votes, we have a Knight after all inevitable, a large presence and a great natural, just beautiful, which ultimately would be the main failure especially direct magic bean. Later, Karl Böhm still deliver its Rosenkavalier on the loom, as shown in the Salzburg version 1969 (with the Vienna forces with DG, Christa Ludwig in Marschallin, Tatiana Troyanos, Edith Mathis, and Theo Adam).
Note that this Rosenkavalier is also available in a box Membran published to mark the 150th anniversary of Strauss, at the attractive price but much less neat sound report.
