And I am of the opinion that there was sometimes a little too much but of praise. Brilliant? Partially. Ideal? Certainly not. This is partly due to the singer squad, while having a lot of celebrities, but yet in all roles (max, Kaspar) or less (Agathe, Annie) falls short of the ideal occupation of Keilberth-Up, which admittedly an extremely high benchmark represents. I do not want to go so far as Peter Schreier (Max) classify as miscast, he has been doing this properly, but Rudolf Schock like it because both of the voice as her much better even from the interpretation of the role!
The same applies to the role of Kaspar: Theo Adam is not bad, but against the awesome demonic Karl Christian Kohn he remains quite pale.
In the women it looks better. Gundula Janowitz is a great, beautiful vocal Agathe, the approach is almost, but only almost Elisabeth Grümmer. Edith Mathis also sings beautifully, but remains committed to its role creatively a little bit guilty. Lisa Otto in Keilberth remains as the No.1!
For conducting Kleiber: Who Keilberth is too romantic and Harnoncourt too harsh, can find a good balance. Kleiber puts many individual accents. The tempos like many perhaps some getting used to (after a rather dignified overture there is a quick schwindeleregend "Viktoria, Viktoria Viktoria!"), Dull the baton is certainly never!
The Staatskapelle Dresden plays wonderful, the sound is pretty transparent, but unfortunately somewhat reverberant: Acoustics Lukaskirche was here might not be the ideal solution ...
Conclusion: A very good "Freischütz" that's not to be heard - whether you have to have him, that depends on personal taste and whether a sufficient recording or not. The reference optical impression remains for me both from the baton, but mainly because of the unbeatable team the singer Keilberth recording dating back to 58th