The newest version of Orff's famous cantata, in its LP format, is not one I should choose in Preference to either of the HMV alternatives from Previn and Muti, although the performance compares favourably with Chailly on Decca. The LP is not cut at the very highest level and for maximum impact a high playback setting is needed. Even so, the Chicago chorus does not match Previn's group in their lusty projection of joyful vigour, nor Muti's Philharmonia Chorus in weight. Nor for that matter are the solists in Chicago so distinctive, although Bernd Weikl's Abbot's drinking song is undoubtedly a highlight. Philip Creech's portrayal of the roasted swan sounds throaty and a little strained, but perhaps the roughness is intended. Levine makes the most of the atmospheric feeling of the spring section, and then provides a sudden burst of energy in the choral dance sequence which ends the first side. The performance expands considerably in the work's latter sections, Levine obviously responding to the earthy sensuality of the love poems.
However, the DG recording is less vivid than the truly splendid Previn analogue LP which remains an easy first choice, although Muti's volatile and dramatic use of dynamic contrast is also very exciting. Chailly is fresh and enjoyable and very well recorded, but less distinctive.
The CD arrived after I had written the above. It certainly transforms the DG recording, bringing far more impact from the chorus at the opening, and greatly enhanced detail, to match and sometimes even improve on the excellent Chailly/Decca CD. Indeed, as sound this is very impressive and certainly outclasses the HMV digital remastering of the Muti version. But as a performance it is a satisfactory, rather than a memorable version. In that respect I think my ultimate vote would go to Mata on RCA, more convincing as an overall entity, and also offering excellent sound. But when HMV decide to make the Previn available on CD that should sweep the board.'