Zusammenfassung: First, the flaws. There are only two: 1) it's unavoidably a little odd, for a listener who loves the Carmina Burana, to hear it without strings, especially in the pianissimo passages; 2) in a few places the tempo is too slow for my taste, especially in the first movement "O Fortuna" and its recapitulation at the end.
It's really hard to find anything else negative to say about this recording. If anyone hears a wrong note or a textual slip in this recording, please post about it; I sure don't. Every word of the text is crystal clear, every dynamic exactly as it should be.
The choral delivery is awe-inspiring. Maybe the consonants aren't perfectly together every time, but they hardly ever are in a large ensemble like this one. This is the only recorded performance I've EVER heard in which the chorus actually respects the word accents in the Latin, i.e. "sors salútis et virtútis" rather than "sors sálutis et vírtutis," as the text is usually sung. Furthermore, the whole performance cast: soloists, chorus, and even children's chorus use the "Germanate" pronunciation of the Latin, as Orff and probably the mediaeval poets would have used. Most recordings, even some recording made in Germany, use the Italianate pronunciation commonly taught in schools.
The soloists are the best part of all. The soprano floats effortlessly through the high notes and huge intervals, conveying both innocence and seductiveness. The tenor's rendition of the roasting swan is both painful and wonderful; he hits those high E's with only the kind of dramatic strain a roasting swan should feel.
Jeffrey Snider is by far the best baritone I have ever heard perform this work. He manages to convey both the tragedy and comedy of the drinking hall, the Abbott of Cockaigne, and the young man awaiting his lover Mandaliet perfectly, yet solemnly narrate "Omnia sol temperat" with equal skill; and he sings the high notes in "Dies, nox, et omnia" as they are written, without 'faking' the apoggiaturas. Most baritone soloists either get carried away with comic effect and sound as if they were jumping on a trampoline as they sing, or else take themselves and the notes far too seriously. Mr. Snider navigates the line between those two extremes perfectly.
If I could imagine a perfect recording of the Carmina Burana it would be these same vocalists (well, the children may have outgrown their childish voices by now) with a really good full symphony orchestra, and just a little boost in the tempo in the first and last movements.