Although I favor the Milstein set (from the 50s on EMI, not the DG set from the 70s, which I think is inferior), I do favor Perlman over the much heralded Szeryng, as well as Heifetz and Grumiaux. In terms of tempo and dynamics, I think Perlman found the right balance in most cases. His Chaconne is stunning, but I especially appreciate his insights into the more delicate movements, such as the Andante of Sonata 2. To me, only the 50s Milstein is superior in this regard. And as much as I love the 50s Milstein set, the sound of the violin is quite dry. Reverb was not yet in vogue in the 50s. So this Perlman set, besides being an insightful interpretation, also has superior sound quality, and is very smooth on the ears. I will also say that Perlman's intonation is impeccable, I have heard no flaws there. I think he makes the right choices throughout the set, and although no single rendition of these works is definitive (although for me, the 50s Milstein on EMI comes closest, and is my top recommendation), I think Perlman is about as good of a compromise between "feeling" and "form" as we can expect. Certainly head and shoulders above Szeryng, his renditions do not impress me.
I think we should be careful not to unfairly judge Itzhak Perlman simply because he happens to be a successful and popular artist. It didn't hurt Yehudi Menuhin in his day. It's always fashionable to dismiss someone who is popular in favor of a more obscure talent, but sometimes this has no real merit. The fact is that Perlman is indeed one of the best violinists in the world, and this recording is perhaps his crowning achievement, as it would be for any great violinist. Technically, I think he is beyond reproach here, and artistically, his insights are among the best I've heard in these pieces.