Mozart Piano Concerto 21.

I have 6-7 versions of concerto 21 including:
Perahia
Schiff
Brendel
Bilson
Kovacevich
Jando
Ashkenazy

Although many of these are very good I am not entirely satisfied, and I think there is better version out there if I look a bit more. The Perahia/Sony which all the critics praise sounds a bit reserved overall to me, the Bilson/Archiv using fortepiano sounds flat/restrained compared to the additional color drama a modern piano adds.

Of all the above I think the Kovacevich/Phillips would be my favorite, and at budget price a great buy.

I would like to hear the versions by:
Pletnev
Shelley
Cassadeus
Staier

Try Schnabel/Sargent/L.S.O., I have it on 78. I agree with Perahia recordings, always have a lowest common denominator feel to it(which is why the critics like it so much), and Bilson always sounds flat to me too.
As for the Staier/concerto koln mozarts, I really like the interaction and general conception, but the string tone I'm finding is pretty ugly, and not "real", but there are plenty of things to like about it.

I agree with Megasam, not anyone in particular is really satisfying, so cannot give a enthusiastic recommendation on concerti #'s 20-27, except for # 25. For me, this is Mozart's most unusual composition, as when the orchestra explodes in the last movement. Like nuclear energy! Richter/Bashmet/Teldec label,Moravec/Vlach/Supraphon label, Moravec/Marriner/Hanssler Classics label, and a "new discovery" for me is the 1989 recording of Michelangeli/Garbon/North German R.S.O./DG label($20!!). All of the above are highly recommended, but I have not heard the Michelangeli, could be a winner, but won't know until I hear. Will post a review on these performances in about 3 months.

Tweekerman,

Sorry to have taken so long to respond. Barenboim IS the conductor. It's annoying from two perspectives. First, he's trying to pay attention to two things at the same time. Second, the piano is situated so that he faces the orchestra and has his back to the audience! Sucks, unless you're in the seats behind the orchestra.

Hilary Hahn was here last season, but I was out of town and missed her. Contrary to others, I think she has considerable talent, although is not in the same league as some younger violinists (Tasmin Little, Joshua Bell). I like to see these younger people play so that I can make up my own mind instead of being swayed by those with rather pedantic attitudes.

Buxter,

Some of us like Gilels because he played the MUSIC. He was relatively humble (although I've never met a musician who was truly humble, although George Harrison came close) and connected me to the music via him. Pletnev has the same ability, in my opinion, along with a prodigious talent. Playing by both is (or was, in Gilels case) was warm, sensitive, human....can't explain it any other way.

Same goes for another Russian pianist, Tatiana Nikolayeva (may she RIP).

I'm going to get my ass ripped for saying that any of the above is eminmently preferable to Serkin (father or son).