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.