Ray Osnato:

>Take Bernstein, for example: In the studio he could sometimes sounds
>self-conscious, like he was trying too hard to make his point.  Concert
>recordings find him free and improvisatory, with phrases breathing more
>naturally.  The same can be said of Haitink, Chailly, Wigglesworth and
>other podium personalities.  Having heard Hamelin at the keyboard in
>recital I can attest to the fact that he is far more exciting in person
>than on discs.

In general, good artists appreciate the difference between live and
studio music-making.  One extreme example is Pletnev (as a pianist,
that is; I am not very familiar with his baton-waving).  Hearing his
introspective studio-performed Chopin will never prepare you for his
devil-may-care live tyranny of the keyboard, but both are more than
convincing.

Michael Cooper