Collon's conducting paces the work's first half from pre-dawn darkness to the ascent of the mountain peak with a firm but pliable tightness that keeps the music moving along through its changing scenes and moods; and the storm-sequence on the descent is speedy and exciting rather than just melodramatic.

All four songs are beautifully done, benefiting from Louise Alder's impeccable singing: intelligent, sensitive and spun out with irresistible, silvery tone….In the symphony, meanwhile, Collon reveals himself as a natural Straussian.

Nothing is overblown or indulgent; instead there’s a straightforwardness, even an innocence about the sound – from the winds in particular – that is inhuman in the right kind of way...[Alder's] gleaming soprano sound is buoyantly supported by the orchestra and, whether the music is portentous, exuberant or tender, she’s unfailingly communicative with the text.