Zallinger’s discography is very small, but is characterized throughout by a notable sense of energy and of style. He was very highly regarded by H. C. Robbins Landon, who has described him as ‘a supremely professional operatic conductor’. Robbins Landon engaged him to conduct the first complete recording of Mozart’s Idomeneo for the Haydn Society, a performance which can still hold its own against later competition. He also persuaded George Mendelssohn, the founder of the Vox label, to hire Zallinger to conduct the recording of Haydn’s then recently-discovered puppet opera Philemon und Baucis. In addition to these commercial recordings, Zallinger was active in the Viennese studios of Austrian Radio: he led a much-reissued recording of Weber’s Euryanthe, with Maria Reining in the title role, and a rarer account of Puccini’s La rondine (its first performance in Vienna) in a German translation with Ljuba Welitsch and Anton Dermota as the two principals. In complete contrast to this repertoire, Zallinger also conducted at this time, for the American Recording Society, the Vienna Symphony Orchestra in the American composer John Alden Carpenter’s Skyscrapers. He then did not appear on disc for several years, until 1962, when he conducted the forces of the Bavarian State Opera in excerpts from Tchaikosky’s Eugene Onegin and The Queen of Spades for EMI-Electrola. Once again he demonstrated his capacity to establish an appropriate sense of atmosphere, here supporting Fritz Wunderlich as the doomed tenor hero of both operas.