This is, generally, a stunning performance, whether the kaleidoscopic wind colours of the part-one dances or ravishing glories of the part-three sunrise. Moreover, Chandos certainly know how to capture Ravel’s complex orchestral score, with an ideal combination of a warm glow and sense of space, without losing any of the minutiae.

Other recordings of Daphnis et Chloé may offer bolder colours, a more obviously upfront panache, but the delicacy and detail of this performance put it in the top class, and the Sinfonia of London can stand comparison with the top international orchestras. Wilson’s series of recordings for Chandos has hit a new high.

Wilson aims to unite the Apollonian and Dionysian, as perspicacious about matters of sonority and articulation as Roth while operating at higher emotional voltage...No coupling but for my money this is the finest recorded Daphnis for a generation.

Wilson’s forensic attention to detail and the superb clarity of the recorded sound ensure that every subtle amendment to phrasing, articulation, dynamics, tempo and technical instructions registers if you’re listening out for it. Whilst the individual changes might sound like small fry in isolation, the end result sounds fresh, nuanced and ever-so-slightly uncanny – almost as if you’re listening to a vintage recording that’s been remastered in hi-res so that fine-grained details that were previously smudged have been sharpened right up.

Wilson has produced a new edition – but, while generations of musicians to come will thank him, his amendments, small and often subtle, are not really this recording’s USP. Instead, it’s the quality of the performance by the Sinfonia of London...It opens with a long first crescendo that just keeps on growing, and this burgeoning wall of sound in turn gives way to melodic playing of a Hollywood golden age kind of lushness.

Wilson spent more than a year painstakingly compiling an edition of the score that met his fastidious standards, and his players respond with equal dedication. You hear it all, and if there is not quite the raw lust of Charles Munch’s classic readings to be felt here, it is still fabulously beautiful, all light and air and glory. Magnificent.

It is superlatively played, and completely worth its place in the pantheon of recordings entirely on its musical, and not just musicological, merits... [The choir’s] first entry, emerging from a subterranean opening, is immense, and brilliantly recorded...They are hauntingly beautiful.