 But Herbert von Karajan's interpretation and EMI's production of it were both as disappointing as they had been two decades earlier.Debussy had insisted that his music should be the servant of Maurice Maeterlinck's text, and had practised an aesthetic of "Gallic restraint and understatement".Karajan had brazenly betrayed the composer with "a voluptuously lush orchestral sound that, ravishing as it is, ... again and again boils over in a scarcely containable ecstasy".