Figaro John Eliot Gardiner

In common with others these days, and with good musicological reasons, Gardiner re-jigs the ordering of Act III, positioning ‘Dove sono’ somewhat earlier than usual. He departs more radically from tradition by offering, in addition, a reordered version of Act IV. This is convincing as scholarship as well as drama – two qualities which inform the whole of this sparkling yet searching performance, a team effort which nonetheless permits plenty of sharply etched characterisation as well as some exceptionally fine singing.

It is an oft-repeated saw, about life in the heavenly spheres, that the angels revere Bach but listen to Mozart. If they have DVD players, you can bet they're now watching this stunning production of Le Nozze di Figaro ("The Marriage of Figaro"), which comes about as close to Mozartian perfection as one could possibly hope to get. The faultlessly cast youthful performers bubble with infectious energy. Alison Hagley is a sprightly Susanna with a voice as clear as a bell, and brilliantly matched by a 28-year-old Bryn Terfel both acting and sounding in fine form. Hillevi Martinpelto demonstrates why she is one of the world's favourite Mozart singers with her melting tones, richly coloured voice and generous stage presence, and Rodney Gilfry gives a muscular, wonderfully controlled performance as the Count.

Philips's repackaging of Gardiner's sophisticated Mozart symphonies offers all the usual qualities of period instruments: the immediacy of gut strings and reduced-vibrato articulation, rustic sounding woodwind, precariously exciting natural brass and the unmistakable 'thwack' of hard sticks on the timpani. Taken individually, the five discs are not, alas, of equal merit. David Wilkins

Deutsche Grammophon presents a complete survey of Sir John Eliot Gardiner's recordings for Achiv Produktion and DG. Orchestras & Choirs: Monteverdi Choir, the English Baroque Soloists, the Orchestre Revolutionnaire et Romantic, the Wiener Philharmoniker, NDR-Chor, NDR Sinfonieorchester, and the London Symphony Orchestra. Soloists include: Anne Sofie von Otter, Ian Bostridge, Barbara Bonney, Emma Kirkby, Mark Padmore, Bernarda Fink, Magdalena Kozena, Bryn Terfel, and many more.

Deutsche Grammophon presents a complete survey of Sir John Eliot Gardiner's recordings for Achiv Produktion and DG. Orchestras & Choirs: Monteverdi Choir, the English Baroque Soloists, the Orchestre Revolutionnaire et Romantic, the Wiener Philharmoniker, NDR-Chor, NDR Sinfonieorchester, and the London Symphony Orchestra. Soloists include: Anne Sofie von Otter, Ian Bostridge, Barbara Bonney, Emma Kirkby, Mark Padmore, Bernarda Fink, Magdalena Kozena, Bryn Terfel, and many more.

This is the fourth instalment in Deutsche Grammophon’s new Mozart cycle. In the end this will encompass the seven great operas, from Idomeneo forwards. I haven’t heard the previous three, but from the reviews I have seen the reception has been rather mixed. Concerning this latest issue I am also in two minds. The problem, as I see it, is that Nézet-Séguin hasn’t quite decided what he is up to. He has the excellent Chamber Orchestra of Europe at his disposal.

Anne Sofie von Otter is a leading mezzo-soprano known for her versatility in operatic roles, her interesting recital choices, and her willingness to take vocal risks. Her father was a Swedish diplomat whose career took the family to Bonn, London, and back to Stockholm while Anne Sofie was growing up. As a result, she gained fluency in languages. She studied music at the Guildhall School of Music and Drama in London. Her main voice teacher was Vera Rozsa, while Erik Werba and Geoffrey Parsons coached her in lieder interpretation.