Karajan's way with Mahler is smoother, less anguished or conflicted than many critics like, but he isn't glib or glossy–this is excellent, insightful conducting. I can't imagine why DG doesn't have more faith in this recording or why critics haven't discovered it. It's not as though Karajan is a hidden talent. After collecting Das Lieds from Rattle, Bernstein, Horenstein, Tennstedt, Kubelik, Giulini, Salonen, Sinopoli and Walter–the list goes on–I sitll rank this version almost as high as the Klemperer. Certainly no one has done it better since. - from Amazon.com
It seems that Gary Bertini, like Gustav Mahler, is destined to be better remembered after his death than he was known during his life. When he passed away in 2005, he was little known outside Israel, Japan and continental Europe and nowhere near as widely recognised as the glamour conductors who appear on the пїЅmajorпїЅ labels. His recordings were few and hard to find. A year after his passing, Capriccio has launched a Gary Bertini Edition (see, for example, review) featuring live recordings drawn from the archives of the KпїЅlner Rundfunk-Sinfonie-Orchester, and EMI has re-released his Mahler cycle.
Steinberg's tenure at the helm of the Boston Symphony was cut short by illness, but his relatively slim catalogue of recordings with the orchestra produced several important examples of his art, boasting truly fine interpretations and spectacular playing. These orchestral showpieces by Strauss and Holst were long overdue for reissue. Steinberg's fast tempos make the Strauss work zip by; it's as if he takes it in one big gulp, creating as exciting a performance as you're likely to hear.
My first reaction was to wonder whether we had not passed saturation-point for recordings of Mahler's Fifth Symphony. Over a dozen are currently available, of which any one of those mentioned above should satisfy the needs of even an insatiable Mahlerian. All are performances on insight, executed in majestic style, and several are available on CD. Now comes Sinopoli to add to the pile. Remembering colleagues' reviews of his London performances of Mahler, I put this recording on the turntable with misgivings. But I have to report that I now gladly make room for this remarkable performance alongside my other favourites. It does not displace them, but it complements them.
Part of the art of conducting seems to me to lie in the ability to make the listener attend afresh to familiar music, to reveal new or different facets. This is what Sinopoli does here, and whatever may go on in the concert hall (I have not heard him there), in the recording studio, judging by this release, the most certainly does not miss or misjudge the spirit of the music.