The suspects involved in the suppression (or, if you prefer, the forgetfulness) of the first stereo Ring was not as simple as I remembered it. But I'm a simple thinker, and an allowance must be made for that. Yet what I wrote was not far off from the truth--at least the truth as reported by those involved, when they were alive. Perhaps the best synopsis is Mike Ashman's notes from the Testament release, and ought to be reviewed by anyone interested. After combing through them we discover:
Culshaw was not interested in pushing the first Decca stereo recording. In fact, he actively lobbied against it. Why? He told producer Kenneth Wilkinson that he just didn't like Bayreuth, and found live recordings 'messy'. Wilkinson recounts how they recorded the cycle using what we'd call 'minimalist' miking technique--with overall very good sound quality. Co-engineer Roy Wallace reminisced how he fully expected the cycle to be released, as he had essentially finished the edits, but Culshaw (who had returned from the States after a stint with Capitol) was frankly uninterested. Culshaw, as a 'modernist' (Wallace's words) wanted to produce his own studio recording in stereo, and that was that.
But there were also legal reasons against the release. Corporate shenanigans between Teldec/Decca and Columbia/EMI over claimed exclusive Bayreuth recording rights, along with dealing with the personalities of Wieland and Wolfgang Wagner. Walter Legge (Columbia's chief producer) wanted complete control over the venue's live recordings, and held close exclusive contracts with principal singers--a situation that complicated matters greatly.
Could all of this have been worked out if Culshaw had given a thumbs up, and if Legge had been on board? One can, of course, wonder about sub rosa motives, or just take it at face value. Or mix and match.
However it was, it's out there for anyone who cares.