Many of the choir's other numbers have the same kind of refined delivery, so if a declamatory, rambunctious, and somewhat vulgar Carmina Burana is needed, then one must look elsewhere.

Perhaps most frustrating of all is the ensemble's precious staccato delivery in the opening 'O Fortuna,' and listeners will feel disappointed that the most famous section of this work didn't blow them away. Furthermore, it sounds as if the conductor is singing under his breath in spots, slightly out of tune, in an attempt to feed the words to the choir. Yet several opportunities for dynamic explosiveness, rousing excitement, and vivid sonorities slip by untaken, because Plasson seems too tightly focused on directing the choir, perhaps to the detriment of the other musicians and the music as a whole, and rushes unconscionably through too many numbers. But when the conductor is as esteemed as Plasson the singers as reputable as soprano Natalie Dessay, baritone Thomas Hampson, and alto Gérard Lesne and the ensembles as good as the Choeur d'Enfants de Midi-Pyrénées and the Orchestre du Capitole de Toulouse, the results should be extraordinary. Carmina Burana is a hard piece to get wrong, since its robust choruses and theatrical vocal numbers can still be riveting even when performed by second-tier orchestras or less than brilliant singers.

Recorded in 1994, Michel Plasson's performance of Carl Orff's Carmina Burana is a respectable effort, featuring exceptional soloists, a skilled choir, and a capable orchestra, yet it falls into the category of flawed renditions.

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