Solti's is a spectacular and exciting 1812, with rich, immediate cellos at the opening, thrusting violins in the allegro and bold, sonorous brass, with plenty of weight at the turba end to support the brilliance. Yet Solti can relax nicely for the gentler, lyrical material and the wide dynamic range of the recording allows the most striking contrasts, with full, natural violins singing away agreeably. There is a 'beefiness' about the overall sound, an apt adjective which EG coined for this sort of recording, which has great immediacy and plenty of body and depth. At the end the cannon shots are impressively placed, loud and yet cleanly focused—very real, except perhaps for the perfect timing, which would surely be impossible in the field. The bells, though, are resonant and not as clean, rather blurred in effect. But few will resist the conductor's exciting tautness in holding the piece together.
Solti is seldom predictable in the recording studio and his reading of Romeo and Juliet has an element of restraint, while not lacking emotional power. The symphonic structure is underlined, with the elegiac melancholy of the spacious opening mirrored into the coda. The simple character of the Friar Laurence theme is emphasized by the clearly articulated woodwind and when the theme reappears to dominate the work's climax the sharp projection of the trumpets is thrilling. The battle sequences have thrust but are unfrenzied, while the first appearance of the love theme is beautifully prepared, with the dark cor anglais followed by the gentlest touch from the strings, very nocturnal in atmosphere. At the romantic apotheosis the yearning passion inherent in the melody—one of the composer's greatest—is eloquent without histrionics. Overall this is an impressive performance, beautifully played, but other versions, notably those of Karajan—have a more striking element of spontaneity.
The Nutcracker suite brings consistently responsive playing from every department of this fine orchestra, and many touches of affectionate detail from Solti, his subtlety in the opening bars of the ''Dance of the Sugar-plum Fairy'' is characteristic. The whole performance is relaxed yet characterful and the individual dances emerge as freshly as ever. One remembers that at the Russian premiere of the suite every number but one was encored—indicative of Tchaikovsky's inspired craftmanship and their immediacy of appeal. On CD particularly—the LP sounds excellent but the Compact Disc undoubtedly enhances the focus, body and range—the ear is struck by the vivid realism of the orchestral colours, and the middle and lower strings are very well caught, while at the opening of the ''Waltz of the Flowers'' the background silence adds to the tangibility of the harp solo.'