I don't think we can generalize about certain record labels having a superior, or inferior, sound compared to the others. I have Decca recordings — Chailly's Beethoven cycle is alas a good example — which sound, to my ears, pretty bad (and certainly over-produced) and there are others which are fine. (Although Decca is certainly not the first name that comes to my mind when having to list as-a-rule-great-sounding-record-labels.) And the same goes for just about every other label. Today, even the budget labels can surprise you with a really good, natural sound, while some of the established audiophile labels let, on occasion, slip an average-sounding recording through their quality control net.
In answer to the OP though: a rather unique release, from a sonic/dynamic perspective that is, is Currentzis/MusicAeterna's recording of Stravinsky's Les Noces coupled with Tchaikovsky's violin concerto (with Kopatchinskaja as soloist), released on Sony Classical (which is another one of those music emporiums that sell audio-quality which can vary from the near unlistenable to the sublime).
The Currentzis, while definitely debatable from a performance perspective, is sonically genuinely interesting in that it is one of the very rare classical releases I know of where the production team appears to have attempted to preserve the natural dynamics of the orchestra. (One of the results being that, during all the ppp passages, particularly in the Tchaikovsky, you can barely hear the music at all, unless you pay really close attention or turn up the volume really loud.) You can find a few audio excerpts
here, but if you prefer highres audio, let me know and I'll prepare you a fragment or two.
But that disc really is an exception, I believe. The sound and the dynamic range of an orchestra always needs to be tamed to some degree, if not for technical reasons — less an issue now than it used to be in the analog days —, then certainly for the sake of basic listening comfort.
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