How good it is to have such excellent accounts of two major works for voice and orchestra by Holst. The first, dating from 1904 (and revised eight years later) is The Mystic Trumpeter, a setting of Walt Whitman featuring a soprano solo, and the second is the First Choral Symphony, a four-movement work with texts by Keats for soprano, chorus and orchestra. This recording might have come to light some years ago were it not for the untimely death of Richard Hickox in 2008, who passed away just as the project was beginning. Andrew Davis has more than ably assumed Hickox’s mantle and with Susan Gritton (who had begun work with the late conductor) he invests these works with all the colour and drama they demand. In The Mystic Trumpeter the overtly musical references of Whitman’s text help give shape and coherence to Holst’s musical language, allowing the composer to distance himself further from the Wagnerian idioms of which he was overly fond and edge closer to a unique personal style. The varied and often delicate nature of the orchestration allows a clear and effective presentation of Whitman’s paean to love, freedom and joy. Lasting just under 20 minutes, the…

  Often mistakenly called a folk opera, The Bartered Bride certainly evokes a world of dirndls, wide eyed peasants and hands-on-hips dancing. But don’t be fooled, there is no folk music in this opera, even if it might sound it. In fact a Frankfurt Opera production set in the 1930s with the men in three-piece suits, worked more effectively for me than Opera Australia’s trad production from a few months earlier. Written in 1866, the work was not a success. It took quite some time for it to become the greatly loved opera that it now is. The score abounds in marvellous tunes and infectious ensembles, the composer ensuring a balance between numbers that continually refresh the ear. The infectious rhythm for Kecal’s Act 1 aria, the graceful melody for Marenka and Vašek’s duet, and the merry tunes for the dances and choruses, make for a genial and enjoyable score. Dvorák and others at the time regarded the opera as the seminal work of Czech light opera. Dana Burešová makes a fine, clear voiced Marˇenka but Tomáš Juhás as Jenik is a little too shrill. The buffo comic Kecal, is sung by a superannuated Jozef Benci with far too much…