To partially redress the balance, I seem to recall Solti having a bit of a spat with Culshaw, because the latter thought that the former was taking Siegfried's Funeral Music too SLOWLY, and insisted on him speeding it up a bit.
Also, would I be wrong to suggest that the meaning of "theatricality" is nowadays increasingly - and unjustifiably - tainted with the odour of "shallowness"? In my book, and generally speaking, theatrical does not necessarily preclude profound (as attested by Solti's "Ring", which possesses both qualities in spadesful!).
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