Glorious Glyndebourne

OPUS ARTE OA 1127 D

It is unlikely that anyone would doubt the quality of Glyndebourne’s musical heritage, but this collection, made up into a Gala event from some of the finest productions of the last decade, demonstrates the range and exceptional quality of both stagings and musicianship.

I am fortunate that I have seen most of these productions live at Glyndebourne and can report how well they transfer to the screen. The first half includes excerpts from Figaro and Cosi, two staples of the opening decades of the opera house, and concludes with passages from Tristan and Die Meistersinger. With other excerpts including Billy Budd, Gianni Schicchi and Carmen there is more than enough to entrance any opera-lover, and the range should ensure some with more limited tastes will realise what they are missing. This may look like a promotional video but on this occasion it is more than justified.

Wagner: Rienzi

Frankfurter Opern- und Museums – orchester und chor, Sebastian Weigle

OEHMS OC 941

This recording comes from a live concert performance in Frankfurt in May 2013. The key singers are strongly cast with Peter Bronder a virile Rienzi and Falk Struckmann a stalwart Colonna. Christiane Libor is aptly forthright at Irene and all are stoutly supported by the Frankfurt choral forces.

The difficulty hearing the work as opposed to seeing it is that it can easily become unrelentingly bombastic, with overtones of Meyerbeer and Weber at their loudest, and little sense of reflection or characterisation which staging can bring.

CPE Bach: Hamburger Sinfonien WQ 182

Stuttgart Chamber Orchestra, Wolfram Christ

HANSSLER CD 98.637

It is difficult, listening to this delightful recording, to accept that these works were held to be too avant-garde and challenging when first composed; so much so that CPE Bach led from the fortepiano to keep his forces together. Here the Stuttgart forces are joined by Sebastian Kuchler-Blessing on the fortepiano, improvising convincingly throughout and adding to the sparkling impact of the scores.  You will enjoy this.

Shostakovich: Violin Concerto;

Rihm: Gesungene Zeit

Jaap van Zweden, violin

NAXOS 8.573271

The Shostakovich concerto is finely played with the Netherlands Radio Philharmonic under Edo de Waart, the range of emotion keenly felt without exaggeration. I had not come across Wolfgang Rihm’s Gesungene Zeit before but felt it did not live up to the enthusiasm of the sleeve notes despite a second hearing.

Jacobean Lute Music

Jakob Lindberg, lute

BIS 2055

Jakob Lindberg plays a lute made by Sixtus Rauwold of Augsburg sometime in the late 1590s. It may be pathetic fallacy but the realisation that any of the pieces recorded here could almost have been composed for it gives a frisson to the impact of the music. There are works by Dowland, Robinson, Johnson and Bacheler as well as a number of anonymous dances. Reflective and personal throughout this is a very pleasing disc.

Composing without the picture – concert works by film composers

Richard Harwood, cello

RESONUS RES 10121 (2 cds)

World premiere recordings here by a range of composers we know best from the cinema, ranging from Miklos Rozsa to Ennio Morricone. There are many pieces to enjoy and some which will challenge the expectations of those who only know these names from the big screen. Works by Christopher Gunning and Alex Heffes were written specifically for the performer.

Sonnerie & other portraits

French Baroque Chamber Works

Fantasticus

RESONUS RES 10122

The baroque trio Fantasticus delve into the lesser known parts of the French Baroque. Starting with the more familiar names of Marais and Rameau, they quickly move on to Francoeur, Leclair and Dornel. A fascinating journey, fully documented throughout.

JS Bach: Clavier-Ubung III

Stephen Farr, Metzler organ, Trinity College, Cambridge.

RESONUS RES 10120

This is Stephen Farr’s first Bach recording and it will surely not be his last. Rather than going for the conventional collection of lollipops we have the whole of the Clavier-Ubung III played on the 1975 Metzler. The twenty-seven sections are finely characterised and the liner-notes include complete registrations so that we can follow the nuances of choice in the tone colour as the works progress. We look forward to the next release with keen anticipation.

Wagner: Siegfried

La Scala, Milan, Daniel Barenboim

ARTHAUS 101 695

On paper this looks to be about as good as it gets; Barenboim with the orchestra of La Scala, Milan, and a clutch of fine Wagner singers. So what went wrong? The most important is, unfortunately, the Siegfried of Lance Ryan. Though his quieter singing is often sensitive, for too much of the time he pushes his voice, producing an uncomfortable sense of strain and often ugly tone. While he might just get away with this in a live performance it is not acceptable for one which we are being asked to live with. That Peter Bronder’s Mime and Johannes Martin Kranzle’s Alberich are so good only highlights the disparity. There is also a problem with singers needing to keep an eye on the conductor. Both Lance Ryan and Terje Stensvold’s Wanderer too frequently look away from the person they are singing to and towards the pit. This breaks the credibility of the action, and undermines the psychological impact.

Guy Cassiers’ production and design often produce some very beautiful stage effects, particularly the opening of act two. However he does have some very strange ideas. Siegfried, alone in the forest, is surrounded by a number of dancers plus a young woman in a wedding dress who we gather is the spirit of the woodbird. The dragon is, as usual these days, a disaster, and Brunnhilde appears to be waking up on a pile of dirty laundry left by the departing Valkyries.

Maybe later revivals will address some of these issues, but it is too late for the release of the recordings which, while having some passing interest, are not really good enough to live with.

A missed opportunity.

 Wagner: Wesendonck Lieder and overtures

Nina Stemme, Swedish Chamber Orchestra, Thomas Dausgaard

BIS 2022

A rather unusual mixture here. Nina Stemme is well focussed and passionate in the Wesendonck Lieder, and the inclusion of the arrangement of Traume for violin and orchestra is interesting. However I wonder how many listeners would need both versions of the overture to Der Fliegende Hollander or yet another prelude to Die Meistersinger?

Britten: Peter Grimes

Britten-Pears Orchestra, Steuart Bedford

ARTHAUS 102179

This should not make any sense, yet it was a triumph, not only for all those involved but for the impact of the work in the open air. If you are still unconvinced, watch it for yourselves.

 Verdi: Requiem

Philharmonia Orchestra & Chorus, Carlo Maria Giulini

EUROARTS 3079968

I remember hearing Giulini conduct the Verdi Requiem in London at about the same time that this recording was made and it is just as thrilling as my memory recalls. It is one of the truly great benefits of modern technology that we can relish the music making of previous generations with such ease. The soloists are operatically impressive, and the whole approach is extrovert and engaging. The fact that it is in monochrome and a little hazy at times should not put anyone off.

Strauss: Ariadne auf Naxos

Vienna Philharmonic Orchestra, Karl Bohm

Salzburg Festival 1965

I noted above how good it is to have these early recordings, even if they are in monochrome, and this outstanding Ariadne supports the point. Drawn from strength, there is not a weak moment in the casting, with a range of legendary voices, including Paul Schoffler as the Music Master, Sena Jurinac as the composer, Reri Grist as Zerbinetta, Hildegard Hillebrecht as Ariadne and Jess Thomas as Bacchus. Gunther Rennert’s production may seem old-fashioned and lacking in ‘ideas’ but it serves the music perfectly and allows the singers to create their characters with subtlety and close attention to detail. The soloists interact as if in a play rather than singing in a vast opera house. Karl Bohm’s conducting is fluid and romantic throughout. A gem!

Bach: Christmas Oratorio

Choir of Trinity College Cambdirge, OAE, Stephen Layton

HYPERION CDA68031/2                 151’49

There are many recordings of the Bach Christmas Oratorio but this is a welcome addition. Crisp and enthusiastic, with bright tempi and clarity of text, it has counter-tenor Iestyn Davies among the soloists under the enthusiastic direction of Stephen Layton. Well worth buying even if you have other recordings already.

Joy to the World: An American Christmas

Handel & Haydn Society, Harry Christophers

CORO COR16117               63’02

Don’t be put off by the title. The American of the title refers to one of the oldest choral societies in the States, not to the source of the music! This is a fine selection covering familiar and much rarer items – ranging from Howells to Bob Chilcott alongside Holst and trad –  all recorded with great sense of style and  lightness of texture.

Hark the Herald Angels Sing

Chor des Bayerischen Rundfunks

BRKLASSIK 900507           73’29

A charming collection which includes solo musical items from oboist Francois Leleux. A reflective approach but effective.

Sullivan: The Beauty Stone

Soloists, BBC National Orchestra of Wales, Rory Macdonald

CHANDOS CHAN 10794(2)            57’18, 72’04

Most readers will be familiar with Gilbert & Sullivan, and many will be aware of Sullivan’s Ivanhoe but few I suspect will know of The Beauty Stone and still fewer have heard any of its music. This new recording fills that gap and explains some of the problems the work has had since its first performances in 1898. The score is one of the most convincing Sullivan ever produced, the orchestration more complex and the melodic lines as good as anything in the Savoy operas. At this point readers can hear the coming but. In this case the but is the story line and libretto. The failure of Ivanhoe does not seem to have deterred Sullivan from returning to his love of the gothic, which proves the biggest stumbling block for the modern listener. There were times I felt myself wishing I could hear this in German or Italian, for then I need only concern myself with the score!

If you can get past the text there is a great deal to enjoy, particularly the solo singing from Toby Spence and Rebecca Evans, and the orchestral work from the BBC under the careful guidance of Rory Macdonald. However, I doubt if even the most adventurous of operatic groups would risk staging it. Let us grateful for the recording!

Gounod: Complete works for pedal piano & orchestra

Howard Shelley, Orchestra della Svizzera Italiana

HYPERION CDA67975      55’56

Every so often a cd comes out which blows you away. This new Gounod disc is just such a one. The recording is an absolute delight throughout and I’ve played it many times to remind myself just how good it is. The opening Suite concertante in A major bubbles with enthusiasm and is not outdone by the following concerto for pedal-piano. If the Fantaisie sur l’hymne national russe seems just a bit of fun it is none the less played with great panache. You really need to hear it!

Britten: War Requiem

Soloists, Chor und Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

BRKLASSIK 900120           87’00

There have many new recordings and reissues to mark the Britten centenary and this new War Requiem is an apt reminder not only of the passion of the work itself but its versatility in the hands of different conductors.

Mariss Jansons takes an unexpectedly rapid approach to the opening and hurls Mark Padmore into What passing bells. No tempi are out of place but there is an urgency to the recording which speaks as much for concern for the living as a memorial to the dead.  Emily Magee’s rich soprano cuts through effortlessly, as Britten intended with Galina Vishnevskaya originally. Recorded live in Munich the balance is excellent and the boys choir distant without being remote. A fine tribute.

Mahler: Symphonies 1, 2 & 3

Philharmonic Orchestra, Lorin Maazel

SIGNUM SIGCD360      

These recordings were made live in the Royal Festival Hall in the spring of 2011. I wish I had been there. Lorin Maazel brings a transparency of texture to the orchestra which is captivating. This, together with a sense of joy and exultation, must place them amongst the best recordings currently available. Of the soloists, Sarah Connolly is particularly effective in the third symphony.

Elgar: Symphonies 1 & 2

David Briggs, organ of Worcester Cathedral

ACCLAIM APCD4016       57’02  63.02

Recorded live in Worcester Cathedral in April 2012 this is the latest in a series of transcriptions from David Briggs. Much as one can admire the playing and the skill of the work it is difficult not to simply ask Why? With the Mahler transcriptions the changes in texture allowed us to hear things which were too often hidden within a full orchestra, but Elgar’s scoring is not like that. His balance is such that we hear exactly what he wants us to hear. As such there is little gain here. The Second Symphony works better than the first as its extrovert character lends itself more overtly to the organ. But that is not enough excuse in the long run.

Brahms: Symphony No2, Janacek: Glagolithic Mass

Chor und Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

ARTHAUS 101684

Another live recording and one which allows us to see Mariss Jansons conducting in close up. While we may not want this in the concert hall it is a distinct advantage in recordings as we can follow the nuances and sensitivity of his approach to these scores. What impresses is the lightness of texture and romantic flair in the Brahms. If the Janacek is denser it never seems over complex and the soloists are radiant.

Berlioz: The Trojans

Royal Opera, Antonio Pappano

OPS ARTE OA 1097 D       254’00

David McVicar’s production was seen in the Royal Opera House in June 2012 and given as a concert performance at that summer’s proms. It has the great benefit of working well in close up, and the soloists are never less than convincing. In the large scale scenes, the vast sweep of the action within the metallic walls impresses and the timeless design allows for concentration on the universal impact of war. Eva-Maria Westbroek is a fine Dido and the whole saga is held together by the Aeneas of Bryan Hymel. Most of the choreography is convincing though rather too similar in style. Chorus and orchestra under Antonio Pappano are passionate and committed bringing the great marches and choral scenes to life, in contrast to the delicacy of the many intimate scenes.

Widor: The Organ Symphonies Vol 3

Joseph Nolan, Cavaille-Coll organ, La Madeleine, Paris

SIGNUM SIGCD 334        65.01

This is proving to be a highly impressive series, and one which you can return to with confidence, knowing that the performances will come up fresh on each hearing. The two symphonies on this disc may not be the most popular but repay careful listening. Joseph Nolan’s approach is studied without being over academic and he allows us to follow the structure of each symphony and to sense where Widor is leading us. Widor’s own comment you must give the organ time to breate and speak seems to lie at the heart of the recording, for we are aware of the atmosphere in La Madeleine before and during the individual movements. There is a real sense of a live performance rather than the cut and paste of many earlier recordings.

The dynamic changes within the church are impressive. Listen to the over-powering impact of the Marcia in the third symphony, followed by the reflective Adagio. Nothing sentimental or insipid in the quieter registration, but a real sensitivity towards the quieter voicing. Equally pleasing are the gentle Andante cantabile of the fourth symphony before the skittering of the Scherzo and the blazing finale. If you have not got the rest of the series – do so! BH

Bach Organ Works: Vol 2

Robert Quinney, Metzler organ, Trinity College, Cambridge

CORO COR 16112              75.11

This is a collection of highly popular works which most organ lovers will already have, some many times over, but I have to admit this is splendidly played and has gone straight to the top of my list when I want a popular Bach Toccata. I particularly liked the joyful approach to BWV540 which has always been a favourite. The pedal is never too heavy and the tempi forward-moving without being over-fast. The great Passacaglia has a sense of narrative which I enjoyed as well as some highly impressive articulation.

I was glad; sacred music of Stanford and Parry

Choir of the King’s Consort; the King’s Consort; Robert King

VIVAT 101           67.52

I always feel Stanford is unjustly overlooked as a composer. Elgar we know well and Parry pops up with regular well-known lollipops. But what about Stanford? This new cd goes a long way to helping if not restore a reputation then at least bringing four different settings of the Magnificat and Nunc dimittis by Stanford for our delight. Alongside these are Parry’s familiar I was glad, Blessed Pair of Sirens, the Coronation Te Deum and Elgar’s arrangement of Jerusalem (and how good to hear it sung rather than belted with cheers).  All splendidly performed with original instrument accompaniment which softens the textures, and crisply sung by the Choir of the King’s Consort.

Britten: Spring Symphony

London Symphony Orchestra and Chorus; Richard Hickox

CHANDOS CHAN 10782 X              58.48

A welcome reissue of a fine recording in the year of Britten’s anniversary. While the Spring Symphony is widely available the accompanying Welcome Ode and setting of Psalm 150 are less well known and thus all the more acceptable.

Schumann: Arrangements for Piano Duet 2

Eckerle Piano Duo

NAXOS 8.572878               73.18

While these are pleasant arrangements one has to admit that the music itself does not really gain anything from the arrangement for piano duet, however well played.

Schubert; Winterreise

Wolfgang Holzmair; Andreas Haeflinger

CAPRICCIO C 5149    

A rich acoustic gives a sense of a live performance for a work which I often feel is a masochistic challenge. While one feels the catharsis at the end, one’s heart is made to suffer all the way. Wolfgang Holzmair makes no attempt to over-characterise, allowing the narrative to unfold with simplicity, while Andreas Haeflinger’s accompaniment is a model of tact. Consider the delicacy of the opening of Der Lindenbaum or the quiet despair of the final Der Leiermann. Probably better not to listen to this alone – music can be devastating.

Handel: Serse

Early Opera Company, Christian Curnyn

CHANDOS CHAN 0797    66:46, 60:16, 39:27

It is difficult to accept that Serse was written off as a failure when first performed and not revived in the way that Handel did for so many of his operas. That it was composed in extreme haste over the Christmas of 1737 in no way compromised the wit and delicacy of the score itself, which has in recent years become one of his most popular compositions on stage.

This new recording, with a strong cast and exquisite original instrument accompaniment throughout is a valuable addition to the range of CDs and DVDs already available.

Mozart: Idomeneo

London Philharmonic Orchestra; Glyndebourne Chorus; John Pritchard

ARTHAUS 102 313            125.00

This recording dates from 1974 and was first broadcast by Southern Television. If the technical quality is not quite what one would expect today, the musical quality is not in question. Richard Lewis is an heroic Idomeneo, and a young Josephine Barstow equally impressive as Electra. John Pritchard, then Musical Director for Glyndebourne, conducts with easy style and the acoustic of the old house is warmly present. John Cox’s production has not dated though the lighting now seems limited in its scope.

Shakespeare: Twelfth Night

Globe Theatre Company

OPUSARTE OA 1111 D    175.00

I saw this production at The Globe when it first opened and it transfers well to DVD. Mark Rylance is a constant pleasure as Olivia, but there are no obvious weaknesses in the cast, and neither does the presence of Stephen Fry as Malvolio overshadow the rest. I am glad to note that The Globe are now regularly issuing productions on DVD so that more of us can relish the delights of the open theatre. Henry IV parts 1 & 2 are available with Roger Allam as Falstaff. Hopefully we may get this seasons fine Henry VI parts 1,2 & 3 issued in time.

Monteverdi: Il Ritorno d’Ulisse in patria

London Philharmonic Orchestra; Glyndebourne Chorus; John Pritchard

ARTHAUS 102 308            148.00

Raymond Leppard did a magnificent job in the late sixties / early seventies rescuing Monteverdi and Cavalli from near obscurity. His lush orchestrations may not be as authentic to modern ears as they seemed at the time, but for those of us only used to conventional romantic symphony orchestras they came as a bolt from the blue. Peter Hall’s justly famous production of Ulisse has Benjamin Luxon in the lead with Janet Baker as Penelope. The quality, surprisingly, is better than that for Idomeneo though it was recorded a year earlier.

Berg: Wozzeck

Staatsopernchor, Staatskapelle Berlin, Daniel Barenboim

EUROARTS 2066758         97.00

A very strong cast, led by Franz Grundheber, with Waltraud Meier as Marie, is supported by Daniel Barenboim’s highly sensitive reading of the score. Though Wozzeck is never an easy evening in the theatre it can have a cathartic effect when performed as well as this. Patrice Chereau sets the story in the twenties when the opera was written and the production is naturalistic if darkly affective. For those who still think of Wozzeck as a difficult work this is certainly a good way in.

Joseph Nolan, Cavaille-Coll organ, La Madeleine, Paris

SIGNUM SIGCD 319        78’09

The first volume in this series had coupled the sixth and fifth symphonies, both probably better known than the first and second, even to regular followers of organ concerts.

The first symphony was worked on regularly by the composer over many years and appears in five different versions. Though the notes are extensive they do not tell us which version Joseph Nolan is playing – not that that need inhibit our enjoyment of his performance. The symphony is in fact seven loosely connected and contrasted movements, which give the organist many opportunities to demonstrate not only his technical finesse but the splendid range and subtlety of the Madeleine Cavaille-Coll. Just consider the wonderful contrast as Joseph Nolan moves from the gentle, floating phrases of the Allegretto to the skittish playfulness and power of the Intermezzo. The Marche pontificale (like the Toccata from the 5^th symphony) is certainly more familiar and here given a rousing, full-blooded romp which fires the blood.

The second symphony goes even further in its demands for range and texture, with movements vying for our attention. The Pastorale is particularly effective, the solo voice ringing out in the vibrant acoustic like a pipe across the valleys. By contrast the Salve Regina seems to hark back to the baroque in both style and registration, the organ coping brilliantly with both. The bright reeds come into their own for the vibrant Scherzo, before a haunting Adagio and the final Allegro which deserves to be as well known as the more popular finale to the fifth!

The notes give us appropriate background to the compositions, but the analysis may be a little too technical for the non-organ buff.

Given the rich acoustic of La Madeleine there is no such thing as silence. When the music dies there is still a very strong sense of place. A pity then that the engineers have chosen to cut off each movement with actual silence, rather than allow us to stay in the building, as we would in a live performance. BH

 Beethoven: Fidelio

Glyndebourne Festival Opera, London Philharmonic Orchestra, Bernard Haitink

ARTHAUS 102307        128’00

This DVD dates from 1979 and is the famous production by (Sir) Peter Hall with naturalistic sets by his regular designer, John Bury. It was originally made for Southern Television and the images suffer occasionally from the age of recording. There also some minor in-balances with individual singers as they move about the stage. This said there is still a great deal to recommend the DVD.

Peter Hall’s approach is deeply humane in its handling of character, moving without being sentimental and ultimately life-enhancing. Elisabeth Soderstrom is a convincing Leonore, and Anton de Ridder an heroic Florestan. Robert Allman’s Pizarro is no simple villain, and is sung with dignity and authority. Curt Appelgren’s Rocco may be a little too easy going but is in keeping with the naturalism which Peter Hall is creating.

Orchestra and chorus under Bernard Haitink are in good form, and given this was an unedited, live performance there are remarkably few slips. A welcome addition to the back catalogue of Glyndebourne’s historical productions. BH

Elgar: Symphony No 2, Sospiri, Elegy Op 58

Royal Stockholm Philharmonic Orchestra, Sakari Oramo

BIS 1879     63’54

Sakari Oramo has an innate feel for Elgar. His anniversary performances in Birmingham of the oratorios were among the finest I can recall. This new recording fully supports my memory of those events. Where many conductors can make the second symphony seem dense and even oppressive, Sakari Oramo brings clarity and light throughout. Time and time again it is the balance of voices we are aware of rather than the almost Brahmsian impact which can result. The Rondo is particularly impressive. The movement can easily seem confused or skittish but here every nuance is allowed to blossom and flourish no matter how fleetingly.

The disc also includes delicate versions of Sospiri and the less familiar Elegy for strings. BH

Sibelius: Symphonies No 1 & 4

Minnesota Orchestra, Osmo Vanska

BIS 1879     74’10

It is interesting to compare these new recordings with those Osmo Vanska made with the Lahti Symphony Orchestra. In the intervening years his approach to Sibelius seems to have become leaner and more intense. In the new recording the symphonies are marginally shorter, but more than that, there is an urgency in them which is not reflected in the original Finnish recordings. The first symphony seems less obviously romantic, looking forward rather than backwards, and the fourth is so bleak that at times it almost disappears into thin air. However, these are fine and totally convincing interpretations, and his new orchestra have many splendid solo musicians amongst their numbers. BH

The Colon Ring; Wagner in Buenos Aires; a film by Hans Christoph von Bock

MAJOR 712808                 93.00

This fascinating documentary is as complex and contorted as the most unbelievable of opera plots. The Colon Opera House in Buenos Aires decided to mount a shortened Ring Cycle. There have, over the years, been many attempts at this, the Birmingham Touring Opera version by Jonathan Dove being particularly successful. On this occasion however, it was decided to stage the work in a single day, reducing the score to just over seven hours.

So far, so good, but the way the house went about it reflects a clash of cultures on a grand scale. Having invited Katharina Wagner to direct, and ordered the sets and costumes, they failed to have everything in place when she arrived to start rehearsals. A Wagnerian storm blew up and, in the end, she walked out. Valentina Carrasco was brought in, with a totally fresh approach, but restrained by having to work with the same basic set and costumes. Running parallel to this was the arrangement of the score. Rather than preparing it well in advance, the cuts and re-orchestration were happening hour by hour during rehearsals, with the result that individual members of the orchestra did not have the same scores in front of them, and many were riddled with mistakes.

That the outcome was so successful seemed far more luck than judgement, but it certainly makes for a fascinating film. BH

As the 2013 season is about to open some recently released DVDs make a welcome addition to the ongoing work of the Opera House itself.

Janacek: The Cunning Little Vixen (2012) 

OPUS ARTE OA 1101 D

A favourite opera of mine, this recording from last summer certainly does justice to the enjoyment we felt at the time. Sergei Leiferkus is outstanding as the Forester and Melly Still’s direction is deft and convincing for a work which can so easily drift into sentimentality.

Wagner: Die Meistersinger von Nurnberg (2011)

OPUS ARTE OA 1085 D

Some of us had been waiting most of a lifetime for Glyndebourne to get round to Meistersinger. After the magnificent Tristan we knew that, however daunting the task, the house would overcome all obstacles to give us something special. Gerald Finley leads a cast which has no substantive weaknesses and the London Philharmonic Orchestra provide some of the finest Wagner playing under Vladimir Jurowski that I have ever heard. The DVD has the benefit of bringing much of the action into close-up, allowing us to enjoy details too easily missed on the larger stage. The sense of real human lives being played out and a living community is exceptionally well found in David McVicar’s humane approach. If the sets did not quite work in the opera house – the second act is uncomfortably close to a shopping mall, and Sach’s home is over-palatial – they seem far better within the confines of the DVD. The final act is a masterpiece of characterisation and musical structure. One recording you must have.

Handel: Rinaldo (2012)

OPUS ARTE OA 1081 D

Modern approaches to Handel tend to divide the audience. Setting Rinaldo in a school where the bullied hero dreams of being a knight to save his girl-friend may seem far-fetched but works remarkably well in terms of both music and story-line. Sonia Prina is a convincing hero and the humour of Robert Carsen’s direction never works against either character or vocal line.

Mozart: Don Giovanni (1977)

ARTHAUS MUSIK 102312

In the nineteen-seventies Sir Peter Hall brought a radically new approach to the presentation of Mozart’s core works. Where most directors would concentrate on the arias and ensembles, he focussed attention on the recitatives which carry so much of the dramatic weight. As a result these productions have an integrity and pace which is second to none. Recorded originally for Southern Television, the quality is more than acceptable, and it is good to have recordings of the whole production rather than clips.

Verdi: Falstaff (1976)

ARTHAUS MUSIK 102315

John Pritchard’s career as an opera conductor is not widely represented on either CD or DVD so it is very good to get this Southern Television recording with a fine cast directed by Jean-Pierre Ponnelle. A traditional approach to the work does not inhibit the enjoyment and there is much sensitive detail.