In spite of having a 2004 digital recording technique on his side, the conducting is quite a disappointment: The other reviewer very correctly named it "Rattle with a train to catch".
I would not repeat his other points but would add that the perception on this DDD recording is that the engineers missed the point:
The explosion of dynamic is tamed and quite severely tamed; the very deep bass struck are reduced in impact. The sound-field is taken from some distance from the microphone which leads to overall barriers when trying to "penetrate" (to critically listen to) the sound.
There is however one nice plus to this recording and that is the Tenor soloist (the swan on the pyre song); the young Lawrence Brownee who sings all of his notes without having to resort to the falsetto Kopff-tone. The way he accomplished that makes his passage unforgettable; all of the other tenors in all of the other various recordings stray into the falsetto territory when encountered by the high notes and does not sound very convincing by way of presenting this swan-song.
Of all of the Carmina(s) heard, and those are quite numerous, the one that stands out would be the Rafael de Burgos (EMI, recorded in 1965) a recording that now enjoys a good digital transfer for the orchestra, the choir, and the soloists, also this Burgos has the wonderful clear-voice, perfectly pitched and long breath of the soprano Lucia Popp...!
Certainly the opening statement and the closing statement with Fruhbeck de Burgos are not rushed but built up full of tension and attraction, which is obvious also along all of the tracks.
In closing: Very recommended is the Rafael Fruhbeck de Burgos EMI - ADD recording which has clear dynamic and focused, while less recommended is this DDD Berlin/Rattle affair, no matter the "advanced" technology was used.