Surely this is not only the best operatic treatment of Oscar Wilde since Salome, but also one of the few absolutely essential operas of the last 20 years...This performances features at least three ideal incarnations: Barbara Hannigan's cut-glass Cecily, Peter Tantsits's spot-on Jack and Hilary Summers's true-contralto Miss Prism, who hits every note asked of her.

Barry magnifies the fizzing quality into a relentlessly high-wire act that has the audience relishing the stamina of the performers, here under the needle-sharp control of ringmaster-in-chief Thomas Ades.

In the Barbican, the sheer size of the hall seemed to dilute the impact of Barry’s fabulously inventive score, with its machine-gun delivery of great swathes of text, ricocheting instrumental lines, and surreal references...On disc, all those can be enjoyed, the sheer virtuosity with which Barry puts it all together appreciated

Barry treats Wilde’s words cavalierly, yet he presents an irresistible portrait of buttoned-up English stereotypes on the edge of madness, panic, rage and despair. Highlights are Alan Ewing’s (bass) Lady Bracknell and Barbara Hannigan’s Cecily.

The mind boggles as to how any singer can manage to memorise and execute Barry’s fiendish vocal parts, but Adès’ cast more than rises to the challenge. It’s a true ensemble effort, though if pushed to pick a stand-out performance, the pyrotechnics of soprano Barbara Hannigan as Cecily are pretty unbeatable.

Alan Ewing and especially Barbara Hannigan (in plate-smashingly good form) are superb, and conductor Thomas Adès keeps everything moving along at a cracking pace. Buy it for your handbag.