Throughout, rather than adopting a headlong interpretative profile, Currentzis inflects Beethoven’s indelible invention with an at times startling range of articulation that bristles with spontaneous relish. Rather than cossetting us in a warm bath of reassuring musical semantics, Currentzis offers up a bracing, tingling cold shower.

He’s a great one for clarity: his dancers know how to be elegant as well as ruthlessly energetic.

In the wake of his red-in-tooth-and-claw account of the Fifth Symphony last year, the balletic elegance of Currentzis’s Seventh took me entirely by surprise: Beethoven’s ‘apotheosis of the dance’ is given with true Terpischorean grace here, with the arc of each movement and of the symphony as a whole quite beautifully plotted.