Simon Stone creates a visceral Viennese Wozzeck for today.

Jordan’s Vienna swansong serves up watercolour treatments of Brahms’ symphonies.

Philippe Jordan’s Choral: trim, taut but not entirely terrific.

Barrie Kosky's company debut goes beyond shock value to the human drama at the heart of the opera.

Barrie Kosky's daring, dazzling production is controversial yet poignant, with the music having the final say.

Jordan’s non-period band offers Beethoven in a hurry.

Philippe Jordan offers more lean, agile Beethoven in the latest instalment of his symphony cycle with the Wiener Symphoniker.

Philippe Jordan’s fine new Beethoven cycle marches on.

This recording of the complete Daphnis et Chloé came after a run of stage performances at the Bastille last year and it is a shame the production wasn’t filmed as we need a decent staging on DVD. In that context Jordan’s reading would be more satisfying than this audio only account. The needs of choreography have straight-jacketed his interpretation and while some may enjoy its straightforward, unfussy manner, for many it will come across as bland and paradoxically un-theatrical. Limpid textures and restraint are a pleasure in themselves, but the lack of thrust and dramatic gesture stops the performance from taking flight. That marvellous opening sequence of mounting voluptuousness should make senses tingle but fails to arouse. Dorcon’s dance is hardly grotesque, and the mocking laughter is half-hearted. The pirate sequences are way too careful. The Bacchanale never quite takes off. The burbling brook at Daybreak is lovingly articulated though, and one does get a frisson with an orgasmic Sunrise. Similar issues plague La Valse. Wonderful moments are glossed over, the opening devoid of mystery, the final breakdown lacks abandon. There are fine textures, but I wish Jordan would just cut loose. Orchestral playing is fine but not outstanding. Recorded…