First box set I ever bought was the RCA Mahler box. Love his Mahler 3 and Mahler 5, real energy and commitment. In particular, the CSO Horns and the tempo of the first movement of the 3rd are more exciting than other recordings I've heard.
@@hectorberlioz1449 I haven't listened to his 10th for a while, will check it out again! I listened to the 5th with the Philadelphia again last week, great moments throughout, a stunning adagietto and a thrilling finale so full of celebrative energy (which coincidentally matched my mood as I was successful in winning the eBay auction on a big DG Karajan box!)
... great discussion. Before you mentioned Mozart I was going to say I have his complete Mozart box by DG. True not out-of-this-World in terms of individuality, but the Vienna Phill have warm strings and he let's the music unfold and speak for itself. The bass comes across a little lightly which suits Mozart beautifully. .. in short a lovely sound and I put it on a par with Krips, and Bohm mainly because of that smooth warm violin tone that is unique to the Vienna Phil. Levine is wonderfully consistent and I have come to love this set. I will investigate his Brahms symphonies.
1:24 The little "thingy" on the back of the box is the "bollino SIAE", that is, a special stamp bearing the logo of the Italian Society of Authors and Publishers*, that must be apposed on every physical support containing music (or video) protected by copyright (not just those issued by Universal). * SIAE = Società Italiana degli Autori ed Editori
Talking about conductors' boxes, is there any chance for you to make a video about the three Karl Böhm's boxes in DG? Especially in the case of the complete symphonies of Beethoven, Brahms, Mozart and Schubert, I think it's one of the most exciting boxes I have (and I have quite a lot). Böhm has not perhaps a great musical idiosincrasy but he's always direct, musical and exciting.
After looking on Amazon for this disc set I could see a series of photos with the contents of each disk. This set seems to be missing two albums with the MET Orchestra, two Wagner albums. I wonder why these were left out of the box set.
I am surprised Levine's original recording with the VPO of Smetana's Ma Vlast is not included in that set. It was very well received when it was first issued and remains a favorite recording of the work for many (including myself).
Really like his DG Berlin Schumann. It could be my favourite Schumann symphony cycle, in fact (not quite as fixated as many are on the Sawallisch Schumann).
He was also chief conductor of the Munich philharmonic for a Nano second before going to Boston. Oehms put out a box but I’ve never heard much about it
Very true David. I tend to prefer his 70’s and 80’s opera recordings where his efficiency nails it. As for the Vienna Brahms cycle it is splendid indeed, but there again Kubelik on Decca with an orchestra in lesser shape grives us more insights into the character of this music.
Yes, there exists a CD with a tremendous live recording from the Met made in the 1980s. The CD is difficult to find, but the performance is extraordinary.
Totally agree. This recording got a lot of stick for some reason, but I prefer it (GASP!) to the much-vaunted Jochum stereo recording. Energetic reading with lots of verve. The CSO brass, as usual, are superb. June Anderson's wonderful. And Philip Creech doesn't use falsetto in the tenor solo. He actually sounds like a duck being roasted, rather than a chaste monk.
I liked the quote from the George Szell / John Culshaw interview. Spot on (lol) assessment & I would say that symphonically, Levine's Brahms cycle with the Vienna Phil on DG was probably the best orchestral thing he's done on disc. He came to the Proms in London on a rare visit in 2007 with the Boston Symphony & did Brahms 1. Still a genuine standout performance in my memory.
This sounds overly harsh. Levine has delivered what I deem unsurpassed performances of some of the greatest music every written, encompassing very different styles. He might have not imposed on the music he conducted the most unique personality, but any conductor that has left in his legacy recordings such as his Schoenberg's Gurrelieder, Schumann's 2nd, Haydn's Creation, Mahler's 5th and 9th, Verdi's Otello, Brahms' 3rd, Berlioz's Les Troyens, Stravinsky's Petrouchka, Dvorak's 7th, Berg's Violin Concerto... must be counted among the greats. He was a superb accompanist of lieder as well, and his recordings of Die Schöne Müllerin and Winterreise just add further proof of what a magnificent musician he was. How many Conductors can be deemed as authoritative in unfolding an endless Bellini melody as in letting an orchestra tear through Bartok's orchestral masterpieces?
Sure, but almost none of those "greats" are in that particular box, and that is the point. I've had ample praise for his best work. You just won't find it here.
You overvalue him. A few of those recordings you mention are certainly proof of Dave's premise here, 'good conductor...but compelling? No...'. NONE of hie Berlioz is among 'the greats'. In fact, for lovers of Berlioz, they were irritating and tepid. I saw him conduct a performance of Le Troyens at the Met and, tho' the production was fine, and the conducting adequate, it lacked any fire or finish. Except for the brilliant staging and choreography, the Royal Hunt and Storm was underwhelming played...
@@charlescoleman5509 There are those who don't quite agree with that - I'm one of them. It's turned too much into a heavy brass fest for my taste. I think the Chicago Prokofiev 5th works better for that type of treatment. Just an opinion.
I always felt I was in great hands at the Met when Levine conducted, especially with Mozart. As you say, he was a great accompanist. The orchestra was splendid and, sometimes, he could even be wonderful. I was always disappointed in his orchestral recordings. They never seemed to catch fire. Maybe I'll give the Brahms a chance.
always had a special love for "Death and Transfiguration" - i find absolutely nothing schlocky or trashy about it - so i have to be angry at you now - ha ha - i can think of very few pieces of music that can rival the sublime majesty of the transfiguration part
To me, it requires a very strong performance to really make something of the main climax. I've been told that Karajan added a second set of timpani and extra trombones in his recordings of "D & T". If true, it certainly showed. The sublime part pretty much takes care of itself. I like the more 'Zen' like passage before the big climax, where the music is soft and is underlined by a series of soft strokes on the tam-tam. I think they used that passage in "Apocalypse Now", or some other movie of roughly the same time period.
I bought this CD with the GREATEST of expectations, but was floored by its excessive, garish, "Hollywood-ish" approach. The 4th had absolutely nothing of the bleak, haunting, austere, otherworldly qualities from which it was born....the 5th was almost as bad. I couldn't even make it through, so I gave the Cd to the local pet shelter's thrift store so some poor pup or kittie could have a nice, warm blanket. I don't mean to be a wise-a____ about this, especially since you asked Dave, not me. And I really wanted the recording to be the all-time greatest. But Vanska, Segerstam, and Berglund are much, MUCH more idiomatic. I really have to wonder what Jimmy, Berlin, the producer and DGG had in mind when they did this. LR
I have a 4 disc DG box of Levine, released for his 60th birthday, and that seems preferable. It has one CD per orchestea: Chicago (Prokofiev 5, Bartok Music for SPC), Berlin (Brahms 1, Mozart 35), Vienna (Sibelius 4, Schoenberg Transfigured Night and Smetana Moldau), MET (Stravinsky Rite, Strauss and Wagner).. That's enough for me, along with his live opera box produced by tbe MET with interesting stuff like Benvenuto Cellini and Wozzeck. Dave, I could never figure out what it was that bothered me about Levine's Sibelius 4 until you provided the key: he plays it like big, old fashioned Brahms. (Which I agree he was superb at.)
A Levine box doesn’t appeal to me for similar reasons. I bought a few of his DG recordings when they were initially released and was underwhelmed enough to stop seeking him out. I remember his Ring recording being a big deal but I preferred older recordings (Bohm Solti etc) That being said, I have not heard many of his offerings on RCA. There is a Daphnis on the Boston Symphony Orchestra’s label that I really enjoyed. I don’t doubt he was a great artist. His batting average on recordings was just low.
That 'Prussian' Sorcerer's Apprentice (heard it once - never again!) brought back a memory of a record review I heard on Radio 3 many moons ago concerning a Levine recording of Ravel's Daphnis (complete) with the Vienna Phil (talk about casting against type!). The reviewer (I no longer remember who it was) summed it up as follows: 'There have been some *good* Austro-German performances of French music over the years, but James Levine's new recording of Ravel's Daphnis & Chloe with the Vienna Philharmonic is.....an Austro-German performance of French music'!
I agree: Levine's "Das Lied von der Erde" from Berlin with Jessye Norman is a huge disappointment. Even though it's far from perfect, J. Norman was put to much better use on the Colin Davis'/L.S.O. "DLvdE".
Thanks a ton Dave...that was wonderful...funny and unfortunately so true of Levine’s work. Do you think his Mozart cycle is better than Bohm or Mackerras? Also the Krips Marriner combo? I guess Adam Fischer still leads the group in this cycle
I also really like Levine's VPO-Mozart. This is where Levine's "leanness" works for him greatly. He does observe every single repeat, like Harnoncourt. (Who needs a 15 minute Andante from Sym. 40?) Still great otherwise...
Perhaps many of these Levine recordings should be termed “reference” recordings. Well played and safe. Non objectionable. Perhaps a nice way to learn a score
Personally, I’d have been just fine if Levine had stuck to opera. That’s not to say all of these orchestral interpretations are poor, but I also can’t think of any work where Levine is among my favored recordings. There’s an undefinable quality of depth I find lacking when I try to listen to listen to Levine, and I find his Mahler particularly wanting. I know there are a great many who esteem Levine, so more power and more boxes to them.
As you rightly claim, Levine did his best work in opera. Well, the Met sells a 32 CD box entitled James Levine 40 years at the Met. Why not review that? Also, if you ever decide to do DVDs, there is a 21 disc box with the same title. And I just found out that Levine was conductor of the Munich Philharmonic from 1999 to 2004. You might look into that. Otherwise I tend to agree with you. He was not the most exciting personality around.
in general..........every time you say James Levine you can say Lorin Maazel................well-executed and yet BORING. One of the slowest and worst Wagner Ring.....
The reasons that you list on some of these recordings are the same as why I've never invested in Levine's Ring. I bought Rheingold ages ago, and my opinion of it has always been summed as "sterile" with the occasional manipulated tempos. Even though some new copies have appeared here and there for as low as $6, I've never had the nerve to pull the trigger.
The 1990 Met Ring on 7 DVDs with Hildegarde Behrens & Jesse Norman, traditional scenery and a non-interventionist director only costs $75. I have enjoyed it for a long time.
The greatness of mr. Levine, the conductor, never really has dawned on me out of exactly the reasons you critically mention in this review, David. I know, that I do not have - and never in this lifetime will acquire - the immense repertoire knowledge of yours, that so impresses, but I have a couple of times in my "Opera club", where we excell in blind guessing, been able to correctly identify mr. Levine as the conductor out of exactly the reasons stated by you. On the other hand, life teaches one a modicum of humility, when you time after time have experienced conductors, that you in general do not care for, turn out splendid performances of special pieces or parts of the repertoire. If I by accident stumble upon the Mozart Brahms or maybe Mahler recordings of mr. Levine, that you positively mention in your review (though not in the box), I intend to give them a try with an open mind, allowing myself to be positively surprised, if so! PS. It might be due to me not being a native speaker, but I assume, that the use of the word "spotty" in your headline for this entry wasn't intended as a somewhat morbid hint to the scandal and the reasons for mr. Levine's demise from the Met (scandalous also for the handling over the years of what seems to have been a well known "secret" in musical circles)? The word 'spotty' tends in this reader's ears to evoke unfortunate connotations to mr. Levine's sad prediliction for 'younger prey'. Teenagers - at least on this side of the Atlantic - almost idiomatically are refered to as "spotty". Might 'patchy' be a somewhat less loaded choice
"Spotty" is a synonym for "erratic" in English, at least in the U.S. I've never heard the association with the word you're suggesting, and it's not even remotely a "loaded" term.
First box set I ever bought was the RCA Mahler box. Love his Mahler 3 and Mahler 5, real energy and commitment. In particular, the CSO Horns and the tempo of the first movement of the 3rd are more exciting than other recordings I've heard.
@@hectorberlioz1449 I haven't listened to his 10th for a while, will check it out again! I listened to the 5th with the Philadelphia again last week, great moments throughout, a stunning adagietto and a thrilling finale so full of celebrative energy (which coincidentally matched my mood as I was successful in winning the eBay auction on a big DG Karajan box!)
For sure his CSO Mahler 3 is one of the fine ones - not least of all for Marilyn Horne!
@@hectorberlioz1449 I couldn't agree more. He nailed the 3rd, especially the final Adagio. The BEST. Sublime!
... great discussion. Before you mentioned Mozart I was going to say I have his complete Mozart box by DG. True not out-of-this-World in terms of individuality, but the Vienna Phill have warm strings and he let's the music unfold and speak for itself. The bass comes across a little lightly which suits Mozart beautifully. .. in short a lovely sound and I put it on a par with Krips, and Bohm mainly because of that smooth warm violin tone that is unique to the Vienna Phil. Levine is wonderfully consistent and I have come to love this set. I will investigate his Brahms symphonies.
1:24 The little "thingy" on the back of the box is the "bollino SIAE", that is, a special stamp bearing the logo of the Italian Society of Authors and Publishers*, that must be apposed on every physical support containing music (or video) protected by copyright (not just those issued by Universal).
* SIAE = Società Italiana degli Autori ed Editori
Yes, I know, but all that was relevant was that we know it's Italian. Why they do such silly things in Italy is not important!
Talking about conductors' boxes, is there any chance for you to make a video about the three Karl Böhm's boxes in DG?
Especially in the case of the complete symphonies of Beethoven, Brahms, Mozart and Schubert, I think it's one of the most exciting boxes I have (and I have quite a lot). Böhm has not perhaps a great musical idiosincrasy but he's always direct, musical and exciting.
After looking on Amazon for this disc set I could see a series of photos with the contents of each disk. This set seems to be missing two albums with the MET Orchestra, two Wagner albums. I wonder why these were left out of the box set.
Hey, at least they didn't include his Cage/Carter/Babbitt/Schuller disc. That was a real toe-tapper.
I am surprised Levine's original recording with the VPO of Smetana's Ma Vlast is not included in that set. It was very well received when it was first issued and remains a favorite recording of the work for many (including myself).
Really like his DG Berlin Schumann. It could be my favourite Schumann symphony cycle, in fact (not quite as fixated as many are on the Sawallisch Schumann).
He was also chief conductor of the Munich philharmonic for a Nano second before going to Boston. Oehms put out a box but I’ve never heard much about it
Levine recorded a pretty good "Guerre-Lieder" in Munich. Oehms Classics, I think.
Very true David. I tend to prefer his 70’s and 80’s opera recordings where his efficiency nails it. As for the Vienna Brahms cycle it is splendid indeed, but there again Kubelik on Decca with an orchestra in lesser shape grives us more insights into the character of this music.
Has Levine ever recorded Verdi's Requiem? Could be great repertoire for him.
Not anymore.
Yes, there exists a CD with a tremendous live recording from the Met made in the 1980s. The CD is difficult to find, but the performance is extraordinary.
Levine's Orff Carmina is truly among the best and should have been on this box set.
Totally agree. This recording got a lot of stick for some reason, but I prefer it (GASP!) to the much-vaunted Jochum stereo recording. Energetic reading with lots of verve. The CSO brass, as usual, are superb. June Anderson's wonderful. And Philip Creech doesn't use falsetto in the tenor solo. He actually sounds like a duck being roasted, rather than a chaste monk.
I liked the quote from the George Szell / John Culshaw interview. Spot on (lol) assessment & I would say that symphonically, Levine's Brahms cycle with the Vienna Phil on DG was probably the best orchestral thing he's done on disc. He came to the Proms in London on a rare visit in 2007 with the Boston Symphony & did Brahms 1. Still a genuine standout performance in my memory.
Yes, Levine’s Brahms symphonies were special. I heard him do the Third with the VPO in London in the 1980s, it was thrilling!
This sounds overly harsh. Levine has delivered what I deem unsurpassed performances of some of the greatest music every written, encompassing very different styles. He might have not imposed on the music he conducted the most unique personality, but any conductor that has left in his legacy recordings such as his Schoenberg's Gurrelieder, Schumann's 2nd, Haydn's Creation, Mahler's 5th and 9th, Verdi's Otello, Brahms' 3rd, Berlioz's Les Troyens, Stravinsky's Petrouchka, Dvorak's 7th, Berg's Violin Concerto... must be counted among the greats. He was a superb accompanist of lieder as well, and his recordings of Die Schöne Müllerin and Winterreise just add further proof of what a magnificent musician he was. How many Conductors can be deemed as authoritative in unfolding an endless Bellini melody as in letting an orchestra tear through Bartok's orchestral masterpieces?
Sure, but almost none of those "greats" are in that particular box, and that is the point. I've had ample praise for his best work. You just won't find it here.
You overvalue him. A few of those recordings you mention are certainly proof of Dave's premise here, 'good conductor...but compelling? No...'. NONE of hie Berlioz is among 'the greats'. In fact, for lovers of Berlioz, they were irritating and tepid. I saw him conduct a performance of Le Troyens at the Met and, tho' the production was fine, and the conducting adequate, it lacked any fire or finish. Except for the brilliant staging and choreography, the Royal Hunt and Storm was underwhelming played...
Any comments on Levine's recording of Sibelius 4 with Berlin Phil?
Sounds suspiciously like the Sibelius 4th.
What is the greatest recording of James Levine?
Virtually impossible to answer. But what comes to mind is his Holst's The Planets with Chicago. Almost unbeatable.
I'd have to say Götterdämmerung on DG.
@@charlescoleman5509 There are those who don't quite agree with that - I'm one of them. It's turned too much into a heavy brass fest for my taste. I think the Chicago Prokofiev 5th works better for that type of treatment. Just an opinion.
Personally I would choose Andrea Chénier with Domingo and Scotto, recorded in 1976.
I always felt I was in great hands at the Met when Levine conducted, especially with Mozart. As you say, he was a great accompanist. The orchestra was splendid and, sometimes, he could even be wonderful. I was always disappointed in his orchestral recordings. They never seemed to catch fire. Maybe I'll give the Brahms a chance.
I once heard some of his Mahler 7th and liked it alot.
always had a special love for "Death and Transfiguration" - i find absolutely nothing schlocky or trashy about it - so i have to be angry at you now - ha ha - i can think of very few pieces of music that can rival the sublime majesty of the transfiguration part
To me, it requires a very strong performance to really make something of the main climax. I've been told that Karajan added a second set of timpani and extra trombones in his recordings of "D & T". If true, it certainly showed. The sublime part pretty much takes care of itself. I like the more 'Zen' like passage before the big climax, where the music is soft and is underlined by a series of soft strokes on the tam-tam. I think they used that passage in "Apocalypse Now", or some other movie of roughly the same time period.
I got to see him lead the BSO in a Beethoven program.
I personally like Levine’s Sibelius Symphonies 4 & 5 with Berlin. I’m surprised that’s not even in there.
You mean they didn't ask YOU before putting the set together? Shame on them!
@@DavesClassicalGuide 🤷♂️
@@DavesClassicalGuide 😂😂😂
They just include commonly popular stuff, like Symphony no.2 and Finlandia. Nothing to be surprised about but still a little bit annoying.
I bought this CD with the GREATEST of expectations, but was floored by its excessive, garish, "Hollywood-ish" approach. The 4th had absolutely nothing of the bleak, haunting, austere, otherworldly qualities from which it was born....the 5th was almost as bad. I couldn't even make it through, so I gave the Cd to the local pet shelter's thrift store so some poor pup or kittie could have a nice, warm blanket. I don't mean to be a wise-a____ about this, especially since you asked Dave, not me. And I really wanted the recording to be the all-time greatest. But Vanska, Segerstam, and Berglund are much, MUCH more idiomatic. I really have to wonder what Jimmy, Berlin, the producer and DGG had in mind when they did this. LR
I have a 4 disc DG box of Levine, released for his 60th birthday, and that seems preferable. It has one CD per orchestea: Chicago (Prokofiev 5, Bartok Music for SPC), Berlin (Brahms 1, Mozart 35), Vienna (Sibelius 4, Schoenberg Transfigured Night and Smetana Moldau), MET (Stravinsky Rite, Strauss and Wagner).. That's enough for me, along with his live opera box produced by tbe MET with interesting stuff like Benvenuto Cellini and Wozzeck. Dave, I could never figure out what it was that bothered me about Levine's Sibelius 4 until you provided the key: he plays it like big, old fashioned Brahms. (Which I agree he was superb at.)
Stravinsky’s Rite of Spring by Maestro Levine is excellent, but ... some edits are distracting...unfortunately...
With the huge number of performances of Le Sacre, one can be very fussy.
A Levine box doesn’t appeal to me for similar reasons. I bought a few of his DG recordings when they were initially released and was underwhelmed enough to stop seeking him out. I remember his Ring recording being a big deal but I preferred older recordings (Bohm Solti etc)
That being said, I have not heard many of his offerings on RCA. There is a Daphnis on the Boston Symphony Orchestra’s label that I really enjoyed. I don’t doubt he was a great artist. His batting average on recordings was just low.
That 'Prussian' Sorcerer's Apprentice (heard it once - never again!) brought back a memory of a record review I heard on Radio 3 many moons ago concerning a Levine recording of Ravel's Daphnis (complete) with the Vienna Phil (talk about casting against type!). The reviewer (I no longer remember who it was) summed it up as follows: 'There have been some *good* Austro-German performances of French music over the years, but James Levine's new recording of Ravel's Daphnis & Chloe with the Vienna Philharmonic is.....an Austro-German performance of French music'!
I am still rather fond of the Smetana Má Vlast he did with the Vienna Philharmonic -- which didn't make the box. Fine with me...
Forgot to mention: on that same recording, the usual fillers from the Bartered Bride (overture, polka, furiant, skocna) are rip-snorting, too.
Yes. I think the fillers are better than the main item.
I agree: Levine's "Das Lied von der Erde" from Berlin with Jessye Norman is a huge disappointment. Even though it's far from perfect, J. Norman was put to much better use on the Colin Davis'/L.S.O. "DLvdE".
Thanks a ton Dave...that was wonderful...funny and unfortunately so true of Levine’s work. Do you think his Mozart cycle is better than Bohm or Mackerras? Also the Krips Marriner combo? I guess Adam Fischer still leads the group in this cycle
Better than...? No. But still generally excellent.
I also really like Levine's VPO-Mozart. This is where Levine's "leanness" works for him greatly. He does observe every single repeat, like Harnoncourt. (Who needs a 15 minute Andante from Sym. 40?) Still great otherwise...
Perhaps many of these Levine recordings should be termed “reference” recordings. Well played and safe. Non objectionable. Perhaps a nice way to learn a score
That isn't a "reference" as I understand and use the term.
@@DavesClassicalGuide its pretty much the way Ken Furie describes the first Solti Meistersinger in Metropolitan Opera Guide to Recorded Opera
Personally, I’d have been just fine if Levine had stuck to opera. That’s not to say all of these orchestral interpretations are poor, but I also can’t think of any work where Levine is among my favored recordings. There’s an undefinable quality of depth I find lacking when I try to listen to listen to Levine, and I find his Mahler particularly wanting. I know there are a great many who esteem Levine, so more power and more boxes to them.
Paradoxically, he missed the comparatively operatic songs, Das lied von der erde, and Mahler's Second and Eighth symphonies.
As you rightly claim, Levine did his best work in opera. Well, the Met sells a 32 CD box entitled James Levine 40 years at the Met. Why not review that? Also, if you ever decide to do DVDs, there is a 21 disc box with the same title. And I just found out that Levine was conductor of the Munich Philharmonic from 1999 to 2004. You might look into that. Otherwise I tend to agree with you. He was not the most exciting personality around.
I have those sets and feel no special need to do any of them. Levine has gotten enough attention for now.
in general..........every time you say James Levine you can say Lorin Maazel................well-executed and yet BORING. One of the slowest and worst Wagner Ring.....
Some of the early Maazel stuff is really good. Sadly, he gradually became a card carrying member of the "Slower Is Better" Society
No, YOU'RE not going to want to get 23 cds of other stuff you don't care about to get that Brahms cycle!
Could use a brahms cycle.
Excellent video with the nail hit 100% on the head
The reasons that you list on some of these recordings are the same as why I've never invested in Levine's Ring. I bought Rheingold ages ago, and my opinion of it has always been summed as "sterile" with the occasional manipulated tempos. Even though some new copies have appeared here and there for as low as $6, I've never had the nerve to pull the trigger.
The 1990 Met Ring on 7 DVDs with Hildegarde Behrens & Jesse Norman, traditional scenery and a non-interventionist director only costs $75. I have enjoyed it for a long time.
@@johnfowler7660 Not my favourite Ring but always worth a revisit, not least fot the James Morris Wotan.
Thanks for making this video, but for every recording in that box set I can think of 10/15 other recordings I'd rather own, listen to or recommend.
I think that's basically what I said. I don't make these to force people to buy the stuff...
I agree. Plus considering the man… I think the best Levine box is the one he is currently lying in.
@@matts9064 LMAO 🤣
The greatness of mr. Levine, the conductor, never really has dawned on me out of exactly the reasons you critically mention in this review, David. I know, that I do not have - and never in this lifetime will acquire - the immense repertoire knowledge of yours, that so impresses, but I have a couple of times in my "Opera club", where we excell in blind guessing, been able to correctly identify mr. Levine as the conductor out of exactly the reasons stated by you. On the other hand, life teaches one a modicum of humility, when you time after time have experienced conductors, that you in general do not care for, turn out splendid performances of special pieces or parts of the repertoire. If I by accident stumble upon the Mozart Brahms or maybe Mahler recordings of mr. Levine, that you positively mention in your review (though not in the box), I intend to give them a try with an open mind, allowing myself to be positively surprised, if so!
PS. It might be due to me not being a native speaker, but I assume, that the use of the word "spotty" in your headline for this entry wasn't intended as a somewhat morbid hint to the scandal and the reasons for mr. Levine's demise from the Met (scandalous also for the handling over the years of what seems to have been a well known "secret" in musical circles)? The word 'spotty' tends in this reader's ears to evoke unfortunate connotations to mr. Levine's sad prediliction for 'younger prey'. Teenagers - at least on this side of the Atlantic - almost idiomatically are refered to as "spotty". Might 'patchy' be a somewhat less loaded choice
"Spotty" is a synonym for "erratic" in English, at least in the U.S. I've never heard the association with the word you're suggesting, and it's not even remotely a "loaded" term.
Exactly so, it just means "erratic," and if it IS loaded, I couldn't care less.