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Yes, I'd spotted this too - but it was originally released back in 2007 (recorded in 2006, I think), so has it ever been reviewed?

Edit: Yes - it was reviewed in Fanfare, but I can't access it....
https://fanfarearchive.com/indices/itop/labels/ebs.html

I have read the Fanfare review and it states that the Förster recording "though labeled "Urfassung mit Blumine," this ... is the same hybrid that has been performed and recorded occasionally since "Blumine" was included in a performance in New Haven, and the score was subsequently printed, 40 years ago. As such, it offers nothing new..." The reviewer, Christopher Abbot, is quite unenthusiastic about the performance as well.

Here's a performance from Boston (New England Conservatory) on 26 September 2011 with attribution of sources used for this version:

Hugh Wolff, NEC's Stanford and Norma Jean Calderwood Director of Orchestras, conducts the NEC Philharmonia in a performance of Mahler's Symphony No. 1 in a reconstructed edition, based on two of the earliest manuscript sources for the symphony. The majority of the music is a transcription of a newly discovered manuscript at the Mahler-Rosé Collection at the University of Western Ontario containing three movements of the originally five-movement symphony. This music is believed to be the earliest version of the First Symphony, premiered in Budapest in November 1889.

The two movements missing from the Ontario manuscript -- the Blumine and the Funeral March -- are performed from their own earliest manuscript source from the Osborne collection at Yale, reflecting the second, 1893 Hamburg performance of the symphony.

This performance of the First includes not only the Blumine movement that Mahler initially took over from another work and ultimately discarded, but also significant segments of music, notably in the Finale, that never made it into any subsequent versions. Originally called Symphonic Poem in Two Parts, the work features a smaller, less Mahlerian orchestra than in its later incarnations, and gives insight into the compositional process that transformed this piece into the Mahler First Symphony that we know today. This work, in Mahler's words "the most spontaneous and daringly composed of all", was subsequently heavily revised, yet due to the public's rejection, remained as he observed his "child of sorrow".

NEC's concert marked the American premiere of this earliest version of the Symphony, and the first time it has been heard in this form since its 1889 premiere. This performing edition was prepared from microfilms of the manuscripts by Kristo Kondakci '09 Prep, '13 B.M., an NEC composition major studying with Michael Gandolfi and John Mallia.

https://www.youtube.com/watch?v=1uJnc5lYx6E
https://www.youtube.com/watch?v=cjh2pucllRQ

After acquaintance with this work via the Empfingen performance on LP, I was skeptical of this new attempt, but have been totally won over. It's like hearing the work for the first time and I look forward to many plays of the cpo issue.

I do have a question for those who purchased the physical CD. I note that the streaming/download version have discrepancies in timings vis-à-vis the booklet: e.g. CD1 track 04 Part I, Welt-Ende B.Die Apokalyptischen Reiter Recitative by St John Und ich sah, dass das Lamm is listed in the booklet as 07:14 while the download track is only 0:56 in duration. Among other discrepancies, the final track of CD2 (16 Part III, Neue Welt Chorus Komme, ja komme bald, Erlöser!) is stated to be 02:04 while the streaming version is 05:46

cpo, for all their merits, have a bit of track record at messing up tracks (punintentional) on their printed brochures and trays, but thought I'd check here if the physical CD actually matches the booklet timings. FWIW, the streaming version plays smoothly with no jarring segues from track-to-track. TIA.

It seems like a lot of past Bard Summerscape operas end up on the Fisher Center website and YouTube channel, so hopefully I will get another chance to see it at a later date. 

The Fisher Center just released a video of Henri VIII a couple of weeks ago here: https://www.youtube.com/watch?v=noqrywV79LM
The program book is here: https://fishercenter.bard.edu/wp-content/uploads/2023/11/NEW-FC-Opera-Program-final-v-Nov-15.pdf

Patricia Kopatchinskaja has made an arrangement for the Saint Paul Chamber Orchestra which was recorded in concert and released on Alpha-Classics:
https://outhere-music.com/en/albums/schubert-death-and-maiden
The concert had music by others interspersed within the Schubert and that is reflected in the CD release but  that can easily be reprogrammed on most CD players and on your computer if you find that concept distasteful.

Some, if not all, of the Schubert is on Youtube; the first movement is here: https://www.youtube.com/watch?v=WPlWstUaHAE&t=8s

No, she played the Grieg piano concerto in its published form:

Remarkable. I am ashamed that I did not know of her keyboard talent prior to your alert. Brava Julia!

I need to do some more detailed comparisons than I've so far been able to do, but if anyone else has a view I'd be delighted to read it.

Thus the reason for my adding "allegedly" in my attribution. I, too, haven't done a side-by-side, but the recordings are just a bit too similar for performances in different venues. Can a church in Lachen have the same ambience as the oversized Gewandhaus? The pause between the conclusion and audience reaction is also just a bit too similar for comfort. But then again, I'm far from expert at audio forensics.

News has just come in that the Leipzig performance at the Gewandhaus was also recorded, by Deutschlandfunk, and will be broadcast soon.

Has this been broadcast? A recording, allegedly from Leipzig, is available here:
https://classicalmusicinconcert.blogspot.com/2023/05/raff-welt-ende-gericht-neue-welt-gregor.html
The source is attributed to a podcast from Catalunya Musica.

[Thomas Schmidt-Kowalski, ein romantischer Komponist an der Wende zum 21. Jahrhundert]

Incidentally, and not strictly relevant, but does anyone know of a comprehensive list of Schmidt-Kowalski's compositions (with dates, etc.)? Would be interesting.

Ursula Eisfeld's thesis Thomas Schmidt-Kowalski, ein romantischer Komponist an der Wende zum 21. Jahrhundert has that information current up to its publication date of 2010: op 1 (1977) to op 115 (2009) plus a handful of WoO. It is available from the Westfälische Wilhelms-Universität Münster:
https://miami.uni-muenster.de/Record/220f7858-2526-4648-9502-6528066d9eb6

Some info on Schmidt-Kowalski's First Violin Concerto including movement titles:
op. 50: 1. Konzert d-Moll für Violine und Orchester (1994)
UA: 02.05.1997, Beningaburg, Dornum, in einer Fassung für Violine und Klavier mit
Kathryn Krueger, V., und Matthias Veit, Kl.
UA mit Orchester am 05.03.2002, Forum Hasetal, Löningen, mit dem
Oldenburgischen Staatsorchester, Wolfgang Mertes als Solist, Leitung GMD
Alexander Rumpf.
Druck: Partitur 1998, Kryptos-Verlag Hamburg, Philipp Buddemeier. Klavierauszug
2004, Christian Meyer, Oldenburg. Kennzeichnung mit unterschiedlichen
Großbuchstaben in beiden Drucken (etwas die Orientierung erschwerend).
CD-Einspielung der Fassung mit Klavierbegleitung während der UA, und Live-
Mitschnitt der UA mit Orchester.
Sätze:
1. Moderato, d-Moll, Allabreve-Takt, 254 T. (bzw. 250 T. im Klavierauszug)
2. Adagio, F-Dur, 4/4-Takt, 93 T.
3. Finale, Allegro con brio, d-Moll, 6/8-Takt, 325 T.
Autograph: Das Autograph war ein Geschenk an den Sponsor und Widmungsträger
Dieter Holzapfel. Für die Bearbeitung stand daher lediglich eine Fotokopie des
Klavierauszugs zur Verfügung. Danach umfasst das Autograph 28 durchnummerierte
Seiten.
Anmerkungen: Die UA des Konzerts in der Fassung für Violine und Klavier kam
durch eine kuriose Verkettung von Zufällen zustande. Bei einer Sightseeing–Tour
durch Dornum war die hervorragende Akustik des Ahnensaals im Hotel der
Beningaburg aufgefallen. Ein guter, fast 100 Jahre alter August-Förster-Flügel, einige
Jahre zuvor auf der Insel Baltrum erworben, war auch vorhanden. So entstand der
Plan zu einem Konzert, das dank der Initiative von Geschäftsleuten, die ihre
Verbindungen nutzen, schließlich auch aufgeführt werden konnte91. Ohnehin hatte
sich die Fertigstellung dieses Werks krankheitsbedingt einige Zeit hingezogen,
sodass die UA erst 1997 stattfand.
Der sinfonisch angelegte, erste Satz enthält eine Solokadenz. Ein erster
thematischer Einfall, der gleich zu Beginn des ersten Satzes mit dem Einsatz der
Solovioline erklingt, kam Schmidt-Kowalski im März 1994, daher möglicherweise die
Verknüpfung mit d-Moll, das für ihn mit Vorfrühling und Märzstimmung verbunden ist.
Abschnitte mit thematisch-motivischen Verarbeitungen sowie zahlreichen Tonartund
Taktwechseln enden am Schluss dieses Satzes in einem für Kopfsätze
ungewöhnlichen Andante in D-Dur. Das zur Hauptonart des Werks parallele F-Dur
wird im zweiten Satz, wenn auch nur kurz, in das entlegene Fis-Dur moduliert. Dieser
Satz wirkt mit seiner ausdrucksvollen Gestaltung romanzenhaft beseelt. Einen
großen Kontrast dazu bildet der dritte Satz, ein lebhaftes Rondo mit zahlreichen
Taktwechseln und unterschiedlichsten Ausdrucksweisen. Harmonisch kehrt er wieder
zu d-Moll zurück, endet jedoch, mittlerweile erwartungsgemäß, mit der Reprise in DDur.
Im Zuge seiner pädagogischen Tätigkeit stellte Schmidt-Kowalski dieses Werk kurz
vor der UA Schülern des Copernicus-Gymnasiums in Löningen vor. Ein kurioser
Zufall will es, dass die beiden Violinkonzerte die Opuszahl 50 bzw.100 tragen.

from: Thomas Schmidt-Kowalski, ein romantischer Komponist an der Wende zum 21. Jahrhundert
by Ursula Eisfeld, geb. Rodens
Inaugural-Dissertation 2010
Westfälischen Wilhelms-Universität zu Münster (Westf.)

AFAIK the only other commercial recording of the original ballet (for chamber orchestra with soprano) was with Davin/Rhineland-Pfalz on MarcoPolo as noted in the review. There have been a couple of broadcast performances; the one with Alain Altinoglu/Frankfurt RO from January 2021 stands out and is available from HR on YouTube:
https://www.youtube.com/watch?v=fmRCZQ2vID4

I have placed a copy of the SWR2 broadcast in the Downloads section. It is the 161k aac-stereo source, edited in a mp4(m4a) container without re-encoding using ffmpeg.

I've listened to this 1.5-times now. In the theater it may be more captivating but I found the audio-only far more tolerable than Debussy's Pelléas et Mélisande. It's certainly shorter.

Let's hope it's recorded - especially the Kauder.

Both Fisher Center performances are scheduled to be live-streamed:
https://tickets.fishercenter.bard.edu/events?k=TON_UPS3

The entire concert is available: https://www.youtube.com/watch?v=J9nealW3gD4

La Vendeta was indeed performed by the Jutland Opera in Nov/Dec 2022 as a double-bill along with I Pagliacci. It was broadcast by Danish Radio on 17 December 2022: https://jyske-opera.dk/kalender/la-vendetta-i-pagliacci

A video teaser is here: https://www.youtube.com/watch?v=Icb4AZtlTFE&t=3s

I just linked to yet another version of Glass's 4th in the Downloads section, by Jorma Panula and the Aarhus City Orchestra from 2006. It shaves almost another seven minutes off the symphony compared to Raiskin's version, and although the recording isn't ideal (there is some tape echo, and it is a bit uneven overall) and the orchestra isn't in the same league as the Rheinische Philharmonie, I think overall I prefer this interpretation.

The link to the download results in four .mp3 files with each movement equal to the cpo recording in timing. The metadata also indicate "Staatsorchester Rheinische Philharmonie - Daniel Raiskin" and a copyright "©2022 CPO"