Actually, yes. I am a great admirer of both Stokowski and Batiz and the latter has done some sterling work for Naxos, including one of my favourite recordings of Rachmaninov's "Isle of the Dead", so there is no reason at all why he should not be favourably compared with the Old Magician in the same piece.
My comparison was with Stokowski's fifth and final recording of this, Rimsky Korsakov's episodic and exotically scored oriental tone poem-come-symphony. Before I make any musical observations, I should simply say that if you want the particular coupling provided by either Naxos or RCA, the quality of both performances is such that you should either go with your preference or buy both, as the standard of playing is superb and the Naxos disc can be had for pennies on Marketplace. Stokowski's fizzy, volatile, super-charged reading of the rollicking "Russian Easter Overture" played by a virtuoso Chicago Symphony Orchestra makes and unusual and very welcome bonus - but the choice of programme on Naxos is equally attractive, being the rarely heard "Musical Pictures" suite gleaned from Rimsky's equally rarely performed fantasy opera "The Tale of the Tsar Saltan" (now usually remembered only for the "Flight of the Bumblebee"). Likewise, there is nothing much to choose between the sound quality offered by both discs: Naxos has the advantage of being digital and achieving an extraordinarily good and realistic balance, bringing out instruments that can sometimes be drowned out in so heavily orchestrated a piece without creating an artificial effect. I am particularly impressed by how well the Naxos engineers capture brass and timpani. However, the Stokowski recording was always in superb analogue sound, too and I doubt very much that you will be disappointed in it - in fact, I find it a tad brighter and more immediate with no discernible hiss. A little artificiality obtrudes with some more obvious manipulation of volume levels: for instance, the harp is preternaturally prominent, but I quibble.
Both solo violinists are excellent: Eric Gruenberg, reprising a role he took for Stokowski eleven years earlier in the LSO/Decca recording, being richly romantic and David Nolan for Batiz slightly cooler and more poised. I like both. Overall, it would be hard to separate the two interpretations; both are vivid, striking, extremely well played and really deliver thrills at the climactic points. Batiz shares Stokowski's famous drive and daring; the amazing this, of course, that Stokowski was six weeks short of his ninety-third birthday when he made this recording. I listened several times to both in succession and couldn't indeed decide or indeed hear a lot of difference - so who says I have to? Own both at very little cost and simply enjoy them.