Not an easy thing to answer, Andreas. There is theory, and then there is art (ie one's personal aesthetic preferences). My pictures are of predominantly dark/dimly lit exteriors and interiors, often including light sources in the frame. So I personally want as little compression as possible, especially in the shadows and the longest possible scale in the negative.
It seems most people respond predominantly to midtone contrast, since that is where most of the "important" information is in most photographic scenes and it is also the range within which out-of-key values and/or local contrast will seem most disturbing or illogical to the average viewer. Does this fit your aesthetic or not?
Another thing to think about, if you want more contrasty midtones than shadows/highlights, the paper curve does this for you. So if you have shadow and highlight compression in the negative as well, you have a double-hit in the print. Take highlights for example. If they are compressed on the shoulder of the negative, they will likely also fall on the toe of the paper during printing. So they are compressed in the negative and compressed again in printing.