Not so much a recording of the music itself, but of an occasion. Berlin's Waldbuhne, an enormous open-air amphitheatre, was built in 1936 by the Nazis, destroyed by bombing, rebuilt, destroyed by a mob 'enjoying' a rock concert, and rebuilt again for further rock and other concerts: so far without further destruction, though the rock concerts, as well as other varied entertainments, have continued since.
Among them was this particular symphonic concert given by the Berlin Philharmonic with Daniel Barenboim. The cast ensures the quality of playing concerned: nevertheless listeners should be forewarned that this concert was a great occasion—the first of 'classical' music given in the amphitheatre—and that this has involved some factors in production not geared simply to enjoying the music at home.
The acoustics of the arena, like other basically open-air surroudings, give the orchestra little bloom; and the acoustics of the recording give it a great deal of unwanted top. That the audience's applause (substantial) enlivened the occasion was natural and perfectly reasonable: at home it does seem inescapable, sometimes overlapping the end of the music, and at least once overlapping its beginning (clearly not the audience's own fault!).
If this all puts domestic listeners off (as it very reasonably may), they will miss some enjoyable music, not all of it in dead centre of domestic repertoire: the Enescu Roumanian Rhapsody, for example (there are two of these, which some of us will confess to preferring to Liszt's similar Hungarian products); or Moniuszko's Mazurka (I would imagine very successful on stage); or Paul Lincke's Berliner Luft, all too obviously well known to and loved by the audience on this occasion. If it is this occasion that you want, then here it certainly is, in good measure.'