Orfeo
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Leister has never been known as a technician per se, but here he shows a transcendent technique in these difficult concertos. He is never flashy, though; indeed, his playing is perhaps understated... —
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There’s no mistaking the inventiveness of many of the textures [in the Widmann], with the orchestra at times matching the soloist in technical address, and certainly the fade-out ending is beautifully... —
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Beethoven: Symphony No. 8
Live Recording August 11, 1962 Mozarteum
Elisabeth Schwarzkopf (soprano)
Berliner Philharmoniker, István Kertész
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Beethoven: Symphonies Nos. 2 & 7
Großes Spielhaus, Salzburg Festival, 17/8/1980
Vienna Philharmonic Orchestra, Karl Böhm
Böhm's famously light and springy beat seems to have been in pretty good shape in what is a shrewdly paced yet affectionate account of Beethoven's Second Symphony —
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Britten, Prokofiev, Shostakovich: The Cello Sonata
Daniel Müller-Schott (cello) & Francesco Piemontesi (piano)
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Strauss, R: Capriccio
Lisa Della Casa (Countess), Robert Kerns (Count), Waldemar Kmentt (Flamand), Walter Berry (Olivier), Otto Wiener (La Roche), Christa Ludwig (Clairon), Peter Klein (Monsieur Taupe), Lucia Popp (Italian singer), Fritz Wunderlich (Italian tenor) & Alois Pernerstorfer
Orchestra of the Vienna...
The sound on the Capriccio release is…lacking in air, although not enough to disturb the memory of Lisa della Casa's assumption of the Countess. To the adjectives attached to her Strauss singing... —
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Brahms: Alto Rhapsody & Mahler: Das Lied von der Erde
Oralia Dominguez (contralto) & Set Svanholm (tenor)
Männerchor des Wiener Singvereins & Vienna Symphony Orchestra, Paul Klecki