A more positive term? (See Helen's comment)

This is my immediate idea, although I came across this page only now.
S. below for examples.

“Tchaikovsky purists should be notified that Toscanini's commercial recording of the symphony (as typical of his several NBC broadcasts during the forties and fifties) has a duration of less than 49 minutes, while an absolutely ***uncut performance*** might run to 60 or even 62 minutes at similar tempi. The details of the Maestro's many prunings are recounted in the valuable Harris Goldsmith annotations; yet, the changes are seamless and may not be immediately perceived, save by an expert.”
http://www.amazon.com/review/product/B000003EXS

“This was the first ***uncut performance*** of Berlioz's masterpiece at the Met. These sold-out performances revealed the magic of Les Troyens to audiences and critics alike - work of outstanding artistry, one of the monuments of the operatic repertoire.”
http://www.videolearning.com/S3109.HTM

“Ochs's 1912 Berlin performance, by the way, appears to have been only the second complete and ***uncut performance*** since Bach's own. The first was given in Karlsruhe in 1907. The conductor was Felix Mottl.”
http://www.bach-cantatas.com/Vocal/BWV244-Mengelberg.htm

“***Cuts*** in opera were once ubiquitous, with few works being played complete. Puccini, who knew how to tailor his scores to an audience's attention span, probably has escaped with the fewest, while Wagner, who wasn't in the least interested in an audience's attention span, was regularly docked. In fact, it was not until the Met moved to Lincoln Center in 1966 that it performed Die Meistersinger ***uncut***.”
http://www.metoperafamily.org/operanews/_archive/1795/viewpt...

“Up to about thirty years ago, the whole question of cuts was academic, in the sense that almost every opera was regularly cut to accommodate either voices or exigencies of time. The movement toward uncut operas began with the "purifying" performances of such reformers as Toscanini, but it did not really take hold until a newer generation of maestros had succeeded to the conductor's stand and a new generation of critics had taken over writing.”
http://www.metoperafamily.org/operanews/_archive/1795/viewpt...