Yes, that is sad reality.
My primary occupation in life is being a bassoonist in my nation’s finest philharmonic orchestra (sometimes I record my colleagues, as a side-job) and while I did play concerts that were both energizing AND neatly performed (or, as we say “just press rec.” concerts), there is no guarrantee that the next one will be such. Large orchestra concerts are plagued with many problems and challenges. We are playing on the instruments which basic design didn’t change for hundreds of years and are negatively affected by stupid things such as changes in air humidity and temperature. The repertoire we are playing is often pushing to the limits of what is possible in the best of circumstances - for example playing extremely quiet in extreme registers of reed woodwinds or playing some virtuoso part on horn or trombone, or fast passages with unusual scales while breaking octaves on any instrument. There can be up to hundred people playing without clear idea who is playing lead and who is accompaniment at any given moment (and that changes from one bar to another) while they sit so far apart that they don’t hear each other, but rely on one person’s gestures which are most of the time very vague… then there is this concentration issue when all goes well, suddenly you experience total blackout for a fraction of a second (usually when trying to focus very hard for more than half an hour) which is enough to produce “audible artifact”… My friends who are both jazz or latino/samba/rumba and classical music players are way more likely to play something wrong when they play classical then otherwise. I am not saying that jazz is inferior music, but I’d say it is more in the line with human nature, creativity and inspiration (any unusual move is not interpreted as mistake, but as voicing and is considered new and interesting, and rightly so, I’d add).
And so, when recording session come, producers always want at least two extra takes in case something is not as written in the score, even if they didn’t notice it on “live listening”.
But in my experience, it is not nearly as bad, last time when we recorded an album for a major German label, we did it with a general rehearsal, two concerts and one correction session, three days altogether.
I hope this demistifies the matter a little bit.