When will there be decent classical music recordings?

I disagree with your assertion about "no decent classical recordings", as from my point of view in the audience I think a lot of today's and yesterday's recording engineers and producers do a nice job of recording orchestras, though not necessarily replicating the concert experience.  And the engineers do use a good deal of spot miking to bring out different instruments in a mix beyond what you might hear in the hall, if they, the producer and the artist want it. 

I see your point of view, though.  You might want to get a copy of the Telarc multichannel SACD of the Cincinnati Orchestra's recording with Stravinski's Petrushka, my understanding is that the recording was made more from the conductor's standpoint than from the audience's.  Also, DG makes recordings that often spotlight instruments in a way that is not necessarily what you'd hear in a concert hall but what the people making the recording felt was musically appropriate, that might be along the lines you're thinking of. 

As I mentioned, if you want recordings with mikes throughout the orchestra, check out the Deutsche Gramophone catalog.  They place mikes throughout the orchestra (almost in the laps of the musicians, in the early years), run everything through a mixer, and let their tonmeister, together with the artist, decide on the final balances.  Ironic that you call out a DG artist (HVK) who used the very technique you're calling for.  There are also plenty of mikes throughout the orchestra used by most recording engineers--Decca, EMI, Reference Recordings and most labels, in addition to their arrays in front of the orchestra, liberally use spot mikes in various sections, especially over the woodwinds or a soloist, to add presence to those instruments, depending on the particular piece being recorded. 

I found it illuminating when I listened to master recording files of the NJ Symphony Orchestra and other artists (such as the Kissin recital at Carnegie Hall) with Tim Martyn, their recording engineer, on my system running through his mixing console.  We were able to play with the levels of all of the many spot mikes throughout the orchestra, as well as the Decca tree with outriggers in front of the orchestra and the spaced omnis out in the hall used for picking up the hall ambience. I found that I'm not a purist by any means--if I were, I'd prefer just the omnis for the sound I heard in the hall, but that sounded way too vague and distant, and not at all what I'd heard in the hall.  This was especially true with the Kissin concert, where adding the mikes placed over the piano to the omnis out in the hall gave the performance life and presence that the omnis by themselves lacked.  Tim, as do many of today's classical recording engineers in conjunction with the artists, will use the spot mikes judiciously to add that presence and life to the music.  You would call for more of that, I guess, but as an amateur performer (singer in a number of choruses and vocal ensembles) and member of the audience I far prefer a slightly more distant perspective so I can hear the blend of voices and instruments called for by the composer.  To each his own.