That's a bit high for me. But you raise a good point that AIUI the norm for mixing and mastering professionals is to listen at higher levels than typically used at home. So we don't really experience in music re-production what the music production process uses, unless we do listen at that level.
For the right listening level I defer to Quad's Peter Walker. He is said to have opined that there's a right volume level for each recording. I think this is largely so. I find that a closely-miked piano, for example, needs to be played at a higher than normal level to make the stereo image, the ambience and the sound level all gel according to my live listening experience. A good loudspeaker does have to reproduce surprisingly high peak levels in this sort of case. So I agree with your view on reproducing dynamics.
An example: I recorded the sound levels close to my seat during a broadcast of the two-piano version of Stravinsky's Rite of Spring, with volume set to make the image, ambience and sound level gel. Average level (LCeq) was 76 dB SPL and the peak exceeded 101 dB SPL. Levels at 1m from the loudspeakers will have been about 3 dB higher. This was a few dB louder than normal for me but not at neighbour-bothering levels.
I would be wary of thinking in terms of health and safety sound level limits. You do get hearing damage at allowable health and safety limits. The limits are set so the accumulated damage over a working lifetime leaves you able to carry on a conversation with someone physically close. I hope my ears will do better than that for a lot longer.
