Die Zauberfloete Roger Norrington

The ever-increasing popularity of Handel and his contemporaries, and their employment of alto castratos, has encouraged the development of countertenors capable of similar vocal feats to the original interpreters of the heroic roles in these works. Among these the distinguished American, David Daniels, who burst on to the scene here a couple of years ago at Glyndebourne in Theodora, is a leading contender. If I would place Scholl in the category of Deller and Esswood, with their luminous, soft-grained tone, Daniels is closer to the more earthy sound of Bowman, his voice — like Bowman's — astonishingly large in volume.

This anthology of devotional music from 18th-century Venice and Naples offers an interesting and varied programme. Best known is Pergolesi’s Stabat mater, but the settings by Domenico Scarlatti and Bononcini stand well in comparison. The motets by Lotti, Caldara and Alessandro Scarlatti are real discoveries; Norrington’s performances of the latter are particularly fine. Guest’s Pergolesi suffers from a focus of sound which makes the interpretation seem somewhat generalised. However, all these performances give pleasure, while the music is melodically fresh and rhythmically vital.

What a versatile artist Steven Isserlis is. Having made his name as a sympathetic interpreter of a wide variety of romantic and modern music, here he shows he can be just as persuasive in eighteenth-century repertoire. His stylistic awareness is evident in beautiful, elegant phrasing, selective use of vibrato and varied articulation, giving an expressive range that never conflicts with the music’s natural language. In the cello concertos he is helped by an extremely sensitive accompaniment, stressing the chamber musical aspects of Haydn’s pre-London orchestral writing. The soft, intimate sonority at 3'06'' in the first movement of the D major is a typical example. The Adagios are taken at a flowing speed, but Isserlis’s relaxed approach means they never sound hurried. The Allegro molto finale of the C major Concerto, on the other hand, sounds poised rather than the helter-skelter we often hear. In his understanding of the music, Isserlis is a long way ahead of Han-na Chang, whose version places the emphasis on fine, traditional-style cello playing. Mork’s vivacious, imaginative performances characterize the music very strongly, but my preference would be for Isserlis’s and Norrington’s lighter touch and greater refinement.

What is so good about Sir Roger's performances are that they are alive, vibrant, full of colour, devoid of clichés, utterly musical, coherent and convincing. Like Thomson he has a reliable ear for balance and texture and an instinctive ability to gauge the correct and most effective tempi.

The performance of Radamisto is notable for an array of vocal talent headed by Janet Baker. Every name is familiar and admired. The ECO was a vibrant presence in the Handel operatic and oratorio market at this time and Norrington at the helm ensures that period practices are helpfully integrated into the fabric of a modern instrument performance – recitatives for instance, once the bane of some 1960s and 70s performances, move fluidly and intelligently, highly responsive to textual meaning and dramatic implications. Note Act I’s Reina, infausto avviso when Tigrane and Polissena’s recitative embodies fine pacing, telling rubato, and appropriately coloured accompaniment. Some cuts though were clearly necessary to accommodate the length of the production.

Mozart's opera seria tells of the King of Crete who is saved from a terrible storm by promising the gods that he sacrifice the first person he meets when reaching land, only to be greeted by his beloved son Idamante. In this Salzburg staging under Sir Roger Norrington Mexican tenor Ramón Vargas sings the title role, with Czech mezzo Magdalena Kozena giving an acclaimed performance as Idamante. Salzburg favourite Anja Harteros is the jealous Elettra, with Ekaterina Siurina as Idamante's beloved Ilia.

Michael Tippet’s King Priam the re-telling of part of the original epic legend of Troy follows the Homeric characters through their love, loyalties and vengeance – leading to the fi nal slaughter of King Priam at the altar of his burning city. The opera also speaks of the inevitability and futility of war. Rodney Macann heads a strong cast in the title role, giving a compelling performance as Priam, alongside Sarah Walker’s moving portrayal of Hector’s wife, Andromache. Howard Haskin plays Priam’s rebellious son Paris, who elopes with Helen, wife of the Greek King of Sparta, thus instigating the great Trojan War. Nicholas Hytner’s innovative production is matched by the starkly stylised setting designed by David Fielding, which creates a timeless arena of war. Minimal costume and colour, frozen action and white light further enhance Tippett’s marvellously sparse music played with fearless conviction and driving impetus by the youthful Kent Opera Orchestra under the direction of Sir Roger Norrington.