Dorothea Maria Marx is an appealing Rezia...her soprano is light and clear, and her fairly tight vibrato adds to the impression of a young innocent girl. Hüon is a demanding role that cries out for Fritz Wunderlich, but I cannot imagine his singing it more beautifully than Mirko Roschkowski, who has sweet, open high notes, quite stunning at climactic moments, and is comfortable with considerable coloratura. This is not only the finest Oberon I know but also one of the most delightful opera recordings it has ever been my pleasure to hear.

Michael Hofstetter and his ensemble have created a venerable recording, with good musical qualities.

To say this (much-applauded) live concert version takes liberties with the score is an understatement: no fewer than 11 numbers are missing…The more’s the pity, as there’s much to like about Giessen’s torso, not least magnificent Rezia from Dorothea Maria Marx combining natural lyric sweetness and power above the stave.

Cast with lighter voices than John Eliot Gardiner’s English-language recording from 2002, this pacey period-instrument account of Weber’s Orientalist fairy-tale has much to recommend it, not least some superb horn-playing and the virile, tireless singing of German tenor Mirko Roschkowski in the punishing role of Huon. Scrapping the clunky dialogue in favour of a succinct (and even on occasion witty) narration was a smart move, too.