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Is Wilhelm Furtwängler (1886-1954) the greatest conductor ever? While there are some who, in preference to his highly inflected, interventionist style, would prefer a more straight-forward conductor such as his contemporary Arturo Toscanini, many cognoscenti believe that at the least Furtwängler, when heard in his favored 19th century Austro-Germanic repertoire, ranks supreme of his type in the pre-stereo era. The aforementioned Toscanini himself was an admirer; asked who aside from himself was the greatest conductor, he named Furtwängler, and also pushed for the German to take over the directorship of the New York Philharmonic when Toscanini relinquished its reins, though controversy prevented that.

While Furtwängler was a more versatile conductor than some observers give him credit for, his reputation is based firmly on his masterful conducting of the symphonies of Beethoven, Bruckner, and Brahms and the operas of Wagner. He said, "A well-rehearsed concert is one in which you have...

Lorengar/Johnson/King/Fischer-Dieskau/Greindl/Deutsche Oper Orchestra and Chorus/Sawallisch

(Arthaus Musik)

One of the most influential singers of the 20th century, Dietrich Fischer-Dieskau died last May, aged 86. Primarily associated with the German repertoire, he was also a fine Verdian, particularly noted for his performances as Posa in Don Carlos, which he sings in this 1965 telecast from the Deutsche Oper Berlin. He's in marginally better voice than on his famous studio recording of the work for Decca, though it's the subtle physicality of his acting that is the real revelation here. He's by no means the only reason for watching: Pilar Lorengar is immensely touching as Elisabeth; Patricia Johnson makes Eboli a figure of tremendous complexity; and there's grand, intense conducting from Wolfgang Sawallisch. Less convincing are Josef Greindl and James King, miscast as Philip and Carlos respectively. The psychologically astute, if severe production is by Gustav Rudolf Sellner.