Damn! I just realized I need a subwoofer to get the most out of those recordings. Or two subwoofers. And I was really happy with my speakers all by themselves!
But incredible playing on these.
In all your excitement of the Strauss and Holst, you left out the most spectacular reissue (IMO) of the three in the box: Hindemith’s Mathis der Mahler Symphony and Concert Music for Strings and Brass. 
That Hindemith record is one of the standout titles of the entire series so far, although the Smetana, Berlioz and Stravinsky also excel as favorites. It’s a fantastic work and sounds really very amazing.
That Strauss is something. The organ at the end of the opening resulted in my windows rattling, my dog chasing his tail and wife yelling out “WTF?:” from the next room. LOL
The Holst sounds great, but I still prefer my copy of Haitink/LPO on Philips from the 70s.
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I have two REL S/510 with a large pair of Dynaudio Confidence C2 Platinum. The system digs down to about 20Hz very nicely. You should hear the Strauss opening with that in my 11’ x 17’ room. 
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Good to know! Those are the subs that have been recommended for my setup as well.
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The REL S/510 are superb.
I have heard a six-pack array of them on a Simaudio North system at my dealer. That sounds amazing.
If you like playing large scale orchestra music it will blow your mind how much a pair of subs can bring the the table in terms of multi-dimensional soundstage, presence and realism. And you really need two (at least) to get that benefit.
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Downloading the DSD files for two DG albums:
Bohm conducting Wagner
Fournier playing the Dvorak and Elgar concertos.
In both cases, it appears the recordings were released on two LPs. As mentioned above, I believe that these are from Emil Berliner SACD masters for Tower Universal Vintage.
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I think that Bœhm may have recorded three LPs of ‘bleeding chunks’ of Wagner with the VPO. It was once fashionable to do so, with Karajan, Tennstedt, Klemperer et al getting in on the act.
To say nothing of a rather more recent, and really rather good, album by Philippe Jordan and l’Orchestre de l’Opéra National de Paris:
Stephen
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This looks like two albums’ worth (94 minutes).
I have a number of “bleeding chunks” recordings, including albums by Karajan, Tennstedt, Klemperer, Walter, and Szell
For chunks, I have Karajan and Solti.
Both very good.
First digital spin of Nelson Goerner’s superb new Liszt recital.
Cheers
EJ
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I sampled the two DSD downloads I bought from ProStudio Masters. As mentioned, these appear to use the same Emil Berliner masters as the Japanese Tower discs.
The Wagner/Bohm/VPO “Tannhauser” prelude and the opening to the Elgar/Fournier/Wallenstein/BPO Concerto both sounded outstanding. The Dvorak/Fournier/Szell/BPO/ Concerto was a bit more congested, but still pretty good.
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I like the Haitink Ravel a lot too Kev. There are so many good Ravel interpretations out there. Boulez is great for modern digital sound, Ansermet hard to beat for interpretation for me.
I recently bought this Ozawa/Boston LP in a charity shop. The record is in pretty poor condition with a fair few irritating scratches, but through that and despite it being a digital remaster and a DG Galleria cheapie reissue to boot, it sounds awesome. Another Thomas Mowrey (producer) gem.
Boston SO were a real class act in the mid-70’s and Tom made some sensational recordings with them. This must be the same vintage as the Ozawa Symphonie Fantastique recently reissued in the Original Source series and very likely Quadraphonically recorded. I’d be there with my credit card if DG ever release this one on Original Source.
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A small band and outstanding singers in a soulful one-voice-per-part performance make this recording of three early Bach cantatas really stand out.
Cheers
EJ
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I have several Handel operas performed by them. They used to appear regularly at the Brooklyn Academy of Music.
Listened to the complete Dvorak/Fournier/Szell/BPO DSD download this afternoon. It may not be quite as good as the Bohm/Wagner recording, but the sound is excellent and the performance is outstanding.
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Pavarotti’s first performances and (live) recording of Otello came at the ‘height’ of his fame as one of three soccer tenors, with his white handkerchief deflecting attention for one of the most beautiful tenor voices since Bjoerling. It didn’t help of course that the role was a size too large for his lyric instrument, and the premiere didn’t go well. By the time of this recording however, he had it under control. Looking back, this is one of my favourite Otellos.
I’m listening to my personal edition: I cut out the applause that is part of the CD issue.
Cheers
EJ
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Pavarotti’s fame, crossover appeal, ballooning weight and some questionable repertoire choices definitely obscured the fact that he had one of the most extraordinary voices of all time. Certainly the heir to Gigli and di Stefano. His Rodolfo and Nemorino may never be equalled, in my opinion.
I also assume you know this recording. I haven’t listened to the Pavarotti recording you show above (although I have added it as a favorite to my Qobuz playlist to try soon), but this Domingo recording has long been my touchstone for that opera.
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You assume correctly
EMI had plans to record Verdi’s Otello with Carlos Kleiber conducting, as the soundtrack to a film of the opera. Predictably unpredictable, Kleiber pulled out at the last minute, and Lorin Maazel was brought in to conduct it.