We have plenty of the thrilling, untrammelled and ringing sound that the tenor is capable of at his best...Happily, Kaufmann’s outstanding central performances are well matched, both musically and scenically...on his own terms, Stölzl creates a drama of real intensity...Thielemann is always aware of the drama and the beauties of the playing are many.

Rather than heart-on-sleeve slancio, [Thielemann] gives the music plenty of space, as well as elegance and delicacy when required...Stölzl’s innovative use of split staging and close-ups of characters who are ‘off-stage’ always enhances the main action rather than being a distraction from it...If this Cav is all monochrome and claustrophobic, Pag is a riot of colour and energy.

one of the most gripping accounts of these two operas I’ve encountered...Thielemann is a surprise entry into the world of verismo. He wrings every bit of blood and thunder out of each score...The great tenor is in superb voice and acts up a storm...[Monastyrska] sings magnificently, her huge voice invariably right-on.

The German tenor ticks all the verismo boxes, entirely credible as an actor...He sings with southern passion...In both operas, the staging gives us intimate vignettes and a strong sense of continuity...The rest of the casting is very strong...Thielemann brings full-on passion and breadth to these scores, drawing full-blooded and full-toned playing from the Staatskapelle Dresden.

Stölzl’s compartmentalised staging works well, solving problems inherent in the Salzburg stage...Vocally the stars are Kaufmann and Ukrainian soprano Liudmyla Monastyrska. The former is in superb voice, every word clear, top notes ringing...Monastyrska creates a sympathetic Santuzza, her possessiveness making it clear why Turiddù strays.