Everyone on stage puts the words first – often by speaking, shouting and shrieking as much as singing. The claustrophobia which boxed in previous issues of Wagner and Strauss from the same source works here to advantage…Iversen sings the title-role in the manner of Gerhaher more than Goerne…Mahnke invests Marie with powerful erotic allure and pride.

Aided by gloriously full, clean Oehms engineering, [Weigle] delivers the best-sounding Wozzeck I’ve heard on disc, with precise playing and complete security of theatrical pacing and instrumental effect. Yet there is no lack of risk… Mahnke rises to the challenge with her beautifully-sung yet incisive Marie.

Sebastian Weigle’s conducting balances the spikiness with some surprisingly luscious intensity, and the dance rhythms that blur in and out of the score have a queasy catchiness. Audun Iversen’s Wozzeck is strongly sung and increasingly bewildered, and Claudia Mahnke’s Marie is notable for a truly wide vocal palette, the recorded sound catching her voice as it rings excitingly around the auditorium. The whole cast is excellent, and the set is greatly recommended on just about all accounts.