Although Cluytens was best known for his work with French repertoire, he also gave notable performances of works in the German-Austrian tradition. His recording career began during the 78-rpm era, and it was at the tail end of that period that he made the first full recording of Offenbach's +The Tales of Hoffmann for Columbia Records, as well as Bizet's +Carmen -- that early version of +Hoffmann, in particular (which remains in print on CD, through Naxos Records as of 2006), is still very highly regarded in the 21st century as one of the best ever done. Most of Cluytens' recording career was spent at EMI, and there his output covered a vast range of repertoire -- in the mono era, highlights include beautiful accounts of Debussy's +Pelléas et Mélisande and Massenet's +Manon. The outstanding part of his stereo catalog was a complete Beethoven symphonic cycle with the Berlin Philharmonic -- the first ever recorded by the orchestra, and the only one it ever did with a guest conductor -- that stayed in print for decades.
Cluytens remained very busy in concert and recording work into the mid-'60s, at which point he was discovered to be suffering from stomach cancer. He continued working even as his health declined, and among his last recordings was Berlioz's L'Enfance du Christ. He died in June of 1967, leaving behind a major body of recorded music that, in addition to the French masterpieces (including an enviable string of operas), also encompassed the music of Stravinsky, Rachmaninoff, Smetana, Dvorák, Tchaikovsky, Mozart, and Schumann. It is a sign of the worth of Cluytens' recordings that a surprisingly large number of them continue to be reissued on CD in the 21st century under license to speciality premium labels such as Testament, in addition to EMI's own reissue efforts, without regard to whether they are mono or stereo. ~ Bruce Eder, Rovi