I found this a distressing experience. Strauss's pieces can have seldom been played with such virtuosity, even by the same orchestra under its former mentor—but that is the trouble: the music is played for that and little else. As a result, Strauss is made to sound just what he was once accused by detractors of being—vulgar. The spirits of Don Juan and Till are blatantly projected, with aggressive brass and plushy strings, the result imposing but far from truly Straussian. Where is the joy and smile of these two rogues as depicted in the past by the likes of Clemens Krauss and Kempe? At the close of both tone-poems one feels battered into an awesome submission, a feeling aggravated by a recording that only accentuates the over-emphases of the readings.
Burleske more readily responds to the approach of Abbado and the Berliners, and the legendary difficulties of the piano part are quelled by the equally legendary gifts of Argerich, although even she cannot resist over-egging the pudding at times with a fearsome attack. But she does provide that degree of impish humour so lacking elsewhere and Abbado here abjures his relentless mode in favour of some lightness. Argerich's cadenzas are a particular pleasure.
The Rosenkavalier trio is sung with accuracy and flair, but a want of the inner warmth and understanding brought to it by German-speaking interpreters of the past. Battle seems unduly taxed by her high-lying part in both trio and duet, and the bloom is off von Stade's tone as Octavian. From what little of it that can be heard, Fleming's rounded tone suggests she might be a notable Marschallin before long. But Abbado seems, in the trio, intent on favouring power at the expense of radiance.
The accompanying note is both facetious and faintly offensive, purporting to be the 'cod' comments of Strauss himself at the expense of Vienna and Johann II, the implication being that Berlin needs its Richard Strauss New Year's Eve event to upstage Vienna's New Year's Day Concert largely devoted to Johann. Although the recording is declared to be live there is no evidence of an audience and no applause (except at the very end)—particularly strange when you would at least expect Argerich's brilliant feat to be acknowledged. Do I detect some post-event re-recording? Not a happy issue.'