There are some performances that give me a real thrill, when a conductor
tackles a work in a way that gives unexpected delight.  The moment of
acceleration as Furtwaengler moves from the slow introduction into the
body of the first movment in Schubert's Ninth Symphony always puts a smile
on my face, not because it's funny but because of the "rush" I feel.  I've
just been listening to Solti's ROMANTIC RUSSIA album, recently rereleased
in the Decca "Legends" series, and I've had the same experience.  The very
first note of the "Ruslan and Lyudmila" overture let you know what you're
in for: the orchestra (the LSO) is startlingly together, and the delivery
is absolutely electric.  I know that some listeners find Solti rather
fierce and feel that his rhythmic emphases interfere with the long line,
but I believe that even Solti detractors might appreciate his approach
with these Russian works (the collection also includes Mussorgsky's
Khovanschchina Prelude and Night on the Bare Mountain, Borodin's Prince
Igor--Overture and Polovtsian Dances, and Tchaikovsky's "Little Russian"
Symphony).  But I'm curious to know what conductorial approaches or
decisions give listers that experience of exhilaration that I've had
listening to Solti go to town with these popular Russian works.

Nick
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