No argument from me about Ludwig-Wunderlich-Klemperer or Ferrier-Patzak-Walter--those remain indispensable. The performance of Patzak, past his prime, is a triumph of musical intelligence over vocal limitation; I sometimes feel that way listening to recordings by Peter Pears and Hugues Cuénod as well.
I understand that some people find Fischer-Dieskau mannered, overly histrionic, and he became more so as the voice began to deteriorate--I don't like many of his recordings after the early 70s But in the 60s, the voice was still in its prime. And to some degree, frenetic excess is part of Mahler's musical language. Some great Mahler conductors, most notably Bernstein, emphasize that extremity, whereas others (Haitink, Walter, Kubelik) do not.
I heard an all=Schubert recital by F-D at Carnegie Hall in 1965--it was sublime. When I heard him do _Die Schöne Müllerin in the early 1970s, the magic was gone.
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