That ardent and devoted Straussian, William Mann, slated this production (in Opera) when he saw it at its première in Munich in 1971 because the score was 'cut to ribbons', declaring that it was therefore, in Strauss's home city, 'a national disgrace'. Notwithstanding this objection, all the liveliness and spirit of the Munich event is conveyed in this recording from the archives of Bavarian Radio to the extent that you hear a lot of stage noises. Sawal- lisch wholly enters into the spirit of the Ben Jonson comedy as adapted for his libretto by Stefan Zweig.
The cast, excellent all round, easily get their collective tongues around the profusion of words. Kurt Böhme, near the end of his long career, is, as he was in the flesh, a magnificently rotund Morosus, with real 'face' in his singing.
The then-young American singers, who all spent most of their careers in Germany, cast as Aminta, Henry and the Barber, all possess good German. Grist is a delightfully fresh and pleasing Aminta and Barry McDaniel an inventive Barber, though his rivals on the other sets are even better. As Henry, Grobe isn't quite the equal of Wunderlich – who can be? Mödl enjoys herself hugely as the Housekeeper.
Sawallisch, in 1971 newly appointed Music Director in Munich and destined to do so much there for the cause of Strauss, manages to keep clear all the many strands in Strauss's score.

the Orfeo performance consistently demonstrates the mastery of Sawallisch as a Strauss interpreter...Reri Grist is a charming heroine, with the edge on her bright soprano making her the more compelling as a scold...[Bohme] sings most characterfully as the old man