Herbert von Karajan

“Pavarotti's Rodolfo is perhaps the best thing he has ever done: not only the finest recorded account of the role since Björling's on the Beecham set, but adding the honeyed Italianate warmth that even Björling lacked. He can't quite match Björling's poetic refinement, and he's less willing to sing really quietly, but Pavarotti's sincerity counts for a great deal: his pride as he declares his vocation as a poet, the desperate feigning of his 'Mimì è una civetta' are points that most tenors miss or treat as mere opportunities for a big sing. His latter-day image may tend to hide it, but this recording is a reminder that Pavarotti is an artist of intelligence and delicacy as well as splendour of voice.
His Mimì, Freni, sings beautifully and sensitively.
Panerai is a strong, vividly acted Marcello.
Harwood is an interesting Musetta: her tiny narration, in Act 4, of her meeting with the stricken Mimì is a gripping moment, and her waltz-song in Act 2 is a passionate (and irresistible) avowal to Marcello. Karajan is a great Puccini conductor who can linger over the beauties of orchestration without losing his grip on the drama or relaxing his support of the singers.
There aren't many operas of which a better case can be made for having more than one account in your collection. For a modern La bohème to supplement the Beecham this Karajan set must go to the top of the list.” Gramophone Classical Music Guide, 2010

“There have been a number of outstanding recordings of the Dvorák Concerto since this DG record was made, but none to match it for the warmth of lyrical feeling, the sheer strength of personality of the cello playing and the distinction of the partnership between Karajan and Rostropovich. Any moments of romantic licence from the latter, who's obviously deeply in love with the music, are set against Karajan's overall grip on the proceedings. The orchestral playing is superb.
You've only to listen to the beautiful introduction of the secondary theme of the first movement by the principal horn to realise that the BPO is going to match its illustrious soloist in eloquence, while Rostropovich's many moments of poetic introspection never for a moment interfere with the sense of a spontaneous forward flow. The recording is as near perfect as any made by DG in that vintage analogue era. It gives the cello a highly realistic presence, and if the passionate fortissimo violins lose just a fraction in fullness, and there seems to be, comparably, just a slight loss of resonance in the bass, the sound picture has an impressively clear and vivid focus.
In the coupled Tchaikovsky Rococo Variations, Rostropovich uses the published score rather than the original version. However, he plays with such masterly Russian fervour and elegance that any criticism is disarmed. The music itself continually demonstrates Tchaikovsky's astonishing lyrical fecundity, as one tune leads to another, all growing organically from the charming 'rococo' theme. The recording is marvellously refined.
The description 'legendary' isn't a whit too strong for a disc of this calibre.” Gramophone Classical Music Guide, 2010

“two great musicians performing with complete sympathy for each other: Rostropovich on top form and Karajan an attentive partner” Gramophone Magazine (James Jolly)

“The intensity of lyrical feeling and the spontaneity of the partnership between Karajan and Rostropovich ensures the position of their DG disc at the top of the list of recommendations.” Penguin Guide, 2011 edition

“Karajan's performances of these Honegger symphonies enjoy legendary status – and rightly so. This recording remains in a class of its own for sheer beauty of sound and flawless ensemble. The French critic, Bernard Gavoty, once spoke rather flightily of Karajan 'transcending emotions and imparting to them that furnace heat that makes a work of genius give off light if brought to the desired temperature' – but it's true! There's a luminous quality and an incandescence about these performances.
The Stravinsky Concerto in D major was written within a year of the Symphonie liturgique and may perhaps be a little too 'cultured' and not spiky enough for some tastes. The lightness of touch, sprightliness of rhythm and flawless ensemble of the Berlin Philharmonic Orchestra are an absolute joy in themselves.” Gramophone Classical Music Guide, 2010

“A classic - Karajan and Symphony No. 3 were made for each other.” BBC Music Magazine, February 2006

“An altogether marvellous CD. The playing of the Berlin strings in the wartime Second Symphony is superb, sumptuous in tone and refined in texture.” Penguin Guide, 2011 edition

“Karajan's Berlin Philharmonic performance is worthy of Mendelssohn's inspiration, and this CD makes a splendid memento of a famous Scottish visit.” Penguin Guide, 2011 edition