I pursued this text for two reasons. Firstly, the recording was hailed at the time as a significant technological achievement. Culshaw and his colleagues took advantage of the new standard LP record and the even more novel stereo recording technique to capture drama to their recording. Secondly, Wagner's score has all the theatrical drama written into it. It was Culshaw's intention to realise Wagner's drama through faithful realisation of the score, rather than making a record of a theatrical production of the opera (a useful distinction for further unpicking).
Ring Resounding prompts many tributaries of discussion. It also has some useful opinions. I have decided to quote this beautifully composed paragraph in the epilogue (or 'Coda', as he calls it) in full as it seems so pertinent today.
We remain faithful to outdated techniques and methods because they are a sentimental part of our past. We can all of us spot the flaws in a new and challenging technique, and are usually glad to dismiss it because of them. So far, attempts to blend the worlds of the cinema and the theatre have failed, and any sort of electrical amplification for voices or orchestra is considered an outrageous interference by technology... But if the audience for opera in general and Wagner in particular is to grow, and if that audience is to make contact with the drama in any serious sense, the time is coming when technology must play a greater part at the cost of a few sacred artistic cows. Just as the conductor is no longer in charge of every aspect of a recording session but is none the less able to create a more accurate and prepared realization of his wishes because of the facilities provided for him, so I believe that the opera theatre of the future will be under the control of men who conceive opera in terms of an expanding communication. In that direction there is at the very least a hope of survival; in the other, the tomb is waiting. Opera as a social event, or as a vehicle for a single star, may not even survive the twentieth century*, any more than the court theatres survived the nineteenth: simple economics and the expansion of private forms of communication like records and television will see to that. The survival of an art form depends partly on its relevance to any given era, and partly on its adaptability in terms of communication. With a few distinguished exceptions, we still approach the presentation of opera with the mentality of the mid-nineteenth century; and when anyone trues to put it effectively where it belongs, which is before the eyes and ears of our own younger generation in a manner that is attuned and attractive to that generation, the howls of alarm from the elders of the critical establishment can be heard the length and breadth of Europe.John Culshaw Ring Resounding (Martin Secker and Warburg, 1967, p261-262)
Here is Humphrey Burton's complete documentary of recording Götterdämmerung as part of the Solti/Decca Ring, 'The Golden Ring' (1964)
(* NB - 'Opera as social event' may well have survived the 20th c., but only by changing the parameters of what the public's expectation of opera is. This may be a 'crossover' discussion issue)