In this recording in February 1976 marked the Antal Dorati "Carmina Burana" red iron strong personality

He is quick to let us know. A howler flatulence of tuba and contrabassoon (which of his colleagues and dare exaggerate this?) Introduced an "O Fortuna" spitting fire and brimstone. A thousand devils come to the fork prick the central ostinato, fanned an insane pace: between 0'28-1'32 my metronome shows white to 157 instead of the 130 required in the score. However, the choir explosion is then braked (120, 144) to the grandiose.
An unusual and surprising result, like this "In taberna quando sumus" precipitate an orgiastic speed: during the first forty seconds, black 144 instead of 132, thus anticipating the required acceleration measuring only 55 . After 1'36, British trombonists have forced drinkers at breakneck bacchanal!
We can compete with the fiery brilliance that the Hungarian leader instills his troops? Fleshy pizzicato that titillate the "Swaz hie gat Umbe". A "Veni veni venias" lapidary!

Nevertheless the maestro does not run automatically after the show and chose a palette of extremely varied tempos.
By moderating the refrains of "Tempus is iocundum" is finally obtained a majestic tutti touching to the heart, thanks to the fresh throats of the Southend Boys Choir.
Discography has rarely offered a "Veris leta facies" if flattened or ecstatic (more than five minutes!), Watching a haunting droop to the sections "piu lento" chanted by two flutes.
Dorati not hasten the "Dance on the meadows" it brush daintily, like a painting by Pieter Bruegel (1525-1569), referring to the approach that is both plump and slender of these rough peasants, priced sequences rhythmic activity very diversified.
For the nagging Round, respects the fine gradations of shades in serious strings (pp pm to 0'34, 1'08 dpi). However in the "Floret Silva Nobilis" it fades grip anapaestic bows (yet rated fortissimo) that must report the leak to horse lover (1'01-, 2'43-).

It is hardly surprising that such a wand exacerbates moods and meanings. In the "Olim lacus colueram" it heightens the contrast between the parodic ordeal roast swan and drought sharpened the chorus without compassion, is impatient to get to the table.
Under this iron rule, the Royal Philharmonic and chorus are emboldened and shine (a shiny execution "Were diu min alle welt") without sacrificing emotion. Certainly can be estimated with Andre Previn including the LP had just been published, the London Symphony Chorus sometimes worked more intonation and voice pulp. Here the melodic lines appear sharper but perhaps less fluffy. For example, when the smooth and fluted diction sopranos volubilise seduction games "Chramer varwe gip die mir".

The soloists?
John Shirley-Quirk gives me mixed feelings despite the consistency that it instills in its successive incarnations, opting for a temperament overwhelmed. Mild disappointment of all: if we morfonde Orff wanted his "Omnia sol temperat" with a mood cafardeuse if he would have specified "malinconico" not "Affetuoso".
The English baritone deprive ourselves a little momentum in the "Estuans interius" because of a cumbersome vibrato, and tends to clog when shouting "molto stentato". It certainly does not seek to cheat the somersault of concluding octave (la-la linked crescendo) but infallibly receives the head voice -which ultimately adds a touching fragility to this song peremptory painful.
Shirley-Quirk seems to design the "Ego sum Abbas" as a disillusioned and not preach a sermon of cursing, opening on the character of abbot of Cockaigne human breach. Same-operated in the youngster chilled "Circa mea pectora" which he will inflate the ardor "molto appassionato" (1'26).

In his tunic of the damsel, Norma Burrowes is one of the sopranos most convincing I have ever heard: its psychological accuracy, for her cute and bright timbre that dazzles virginal innocence in the "Stetit puella" and "In trutina "confess that torn and heartbreaking.
She excels at distilling the ingenuity of the "sine socio Siqua". We forgive him there his re sostenuto (2'45-3'05) it extinguishes a measurement too early, dodging the last dotted half, inadvertently certainly not for lack of breath.

Decca microphones have captured the Kingsway Hall with magnitude while maintaining the fullness of a very pregnant sound image at the cost of sometimes artificially magnified perspective (the six singers of "If puer cum puellula" seem very close).

All this contributes to a motley and spectacular interpretation of the cantata Dorati grabs her as a mid mid expressionist baroque fresco. With an astounding intelligence overhanging whims: instilling such a sting of bitterness in the "Ave formosissima" already announces the return of the wicked ruthless wheel of fate.