Even after almost 50 years, Igor Markevitch and the Philharmonic orchestra hit the spot, burning from the inside and sounding genuinely live. The downside, though is the recorded sound which is showing its age just a little.

Markevitch's 1959 stereo Rite is in a league of its own. This is a model of how to balance the score (and of how to create the illusion of a wide dynamic range within more restricted parameters).
Markevitch would have been totally familiar with every note of the piece (in 1949 he sent Stravinsky a list of mistakes he had noticed in the recently revised edition), and by 1959 he clearly knew what it needed in performance, including how to keep its shock-value alive. There are 'improprieties' here, such as the slowing for the 'Evocation of the Ancestors' (making the most of those timpani volleys), but nothing serious.
As it happens, Markevitch's 'Introduction' to Part 2 is unusually fast, but he's able to take in the following small marked variations of tempo, providing valuable contrasts. And in any case, the playing is so alive, alert and reactive, whatever the dynamic levels: listen to the incisive clarinets' entry in the 'Mystic Circles' and the frisson imparted to the following pianissimotremolando from the strings.
We could fill the rest of the page with similar highlights and other features unique to the performance, but that would be to spoil the fun of discovery (or rediscovery – and what a transfer of the original!). This is a great Rite for many reasons, not the least of which is that the sessions were obviously electric. As a fascinating bonus, Testament also offers a 1951 mono recording of a great Rite in the making. The differences aren't radical, but enough to justify the idea.