There have been many fine recordings of this opulent score, including Solti's (Decca), Previn's (Telarc), and the recent Askkenazy (Ondine), but if forced to choose a single recording I have no hesitation in picking this one. I realize that this may come as a shock given the number of Strauss specialists (both conductors and orchestras) that have recorded the work, but I challenge anyone with even the vaguest idea of how this music should sound to compare this newcomer to, say, Thielemann's tiresomely mediocre version with the Vienna Philharmonic and not reach the honest conclusion that Kord conducts better, the Warsaw Philharmonic plays better, and CD Accord offers vastly superior sonics (and the best storm sequence ever). The fact that this is a live recording only makes the achievement all the more remarkable.

At 43 minutes, this is a very swift account of the score (much like Solti's in raw energy), but the timing doesn't by any means tell the whole story. Kord understands that the static moments (the very opening, the calm before the storm, and the coda) need to move along, but he gives the climaxes plenty of room to create the most opulent Romantic intensity. Witness for example the very broad sunrise and the extraordinarily thrilling sequence that begins with "Dangerous Moments" and continues through "On the Summit" and "Vision". The Warsaw Philharmonic brass and solo winds do themselves proud here, and in this last section note how flowing and lyrical Kord renders the music compared to the clunky and dynamically challenged Thielemann. It sounds like a different piece, with Kord characterizing each section to the fullest while maintaining a genuine symphonic continuity.

There are so many outstandingly fine moments, from the variously spaced on-and-offstage horns just before "Into the Forest", to the glistening "Waterfall"--even those silly cows exude charm and atmosphere! Best of all, Kord refuses to let the ending drag on indefinitely, bringing the piece to a clear finish that's as satisfying as it is inevitable. I could go on, but the bottom line is that hearing is believing, and even if there's no coupling, you simply have to hear this performance if you love this work. I've forced it on several skeptical friends and all of them turned out to be hugely grateful for the experience. I suspect you will be too, and if you don't come away convinced not only of the stellar quality of this production, but also of the (often maligned) music itself, then I give up!

--David Hurwitz