Audiophile quality Mozart???

Kleiber on Decca/London would be my first choice too. The sound is not bad -- indeed, the voices on cd sound quite good even though the stageing is not top-notch vs the vinyl (in my system). Solti I find to be very strict to the rules and, though an excellent performance (voices being in the spirit of Sugarbrie's post), I prefer Kleiber's for being closer to the "nature" of the story.

Mozart Requiem on Dorian. Levin is conductor.

Well I really have a hard time recommending an opera recording from a audiophile perspective. The quality of the singing should trump the quality of the recording.

That said, the Solti/London Philharmonic recording is very good from a singing perspective, so if Pls1 thinks it sounds good, then give it a go. The one I am referring to has Ramey, Allen, TeKanawa, Popp, Von Stade. It is London/Decca 410-150-2 (3 CDs)

Also take a listen to Salomaa, Hagegard, Auger, Nafe, Bonney; Drottningholm Court Theatre, Arnold Ostman conductor, on Oiseau-Lyre 421-333-2 (3 CDs).

I assume that you want a complete recording. Whether you consider it audiophile or not the best recording from an audio perspective is Solti’s on Decca/London. From a purely audiophile perspective, I think this is as close as you will get. It is also an excellent interpretation. The Telarc recording conducted by Mackerras doesn’t offer a significant technical advantage over the Solti, only a difference in recording perspective and Mackerras’ singers aren’t in the same league. On the other hand, the Mackarras set offers a fair amount of alternately ornamented arias so it is a set that should be heard by anyone interested in period performance practice.

The Gardiner on Archive, with period instruments, is also an excellent interpretation but it is recorded live, with noticeable audience noises and the recording perspective shifts. However, given these caveats, I would consider it a tie second place on recording quality alone and a much better interpretation than Mackerras. Harnoncourt’s on Teldec is curiously recessed and distant. Since he uses a large orchestra this results in what I would call unacceptable sound.

The best performance, of what is arguably the greatest opera ever written, is in my opinion, Erich Kleiber’s 1955 recording on Decca/London recently remastered on the Decca Legend’s series.