Classical Court

From Perotin to Prokofiev (and beyond), performed by Caruso to Khatia, it's all here.

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Yet it must be said that Sinopoli could indeed be eccentric on occasion

Posted by jdaniel@jps.net on September 27, 2020 at 11:07:59:

The 1st mov't of his Mahler 7th is a perfect example: balances are sometimes distorted, and then consider the slow speeds...but I love it. The vivisected material following the "moonlight" music to the end is almost unrecognizable from other performances, but the operatic lament of the tuba and trombone, (M3 First Movt?) is unforgettable, IMHO.

Same with the Coda of the Finale. It leaves me exhausted, those final valedictory measures never seemed harder-won, and the lead-up is more of a breathless trudge. (In C:) C-- G-- G E-- D
C-- G-- G E-- D.......

The oh-so-slow Finale to Elgar's Enigma Variations is also hard to forget, due to the Philharmonia's unflagging energy. Whatever the Phil may or may not have thought of Sinopoli, they gave him what he wanted.

Salome: As for Salome's last scene, those whopping horns (let's be serious: orgasmic horns) have never sounded more outrageous, as far as I know. How lucky that Sinopoli and Studer were at their height at the same time.

I've read good things about his Frau, though with cuts.