Named one of the three “most special” German operas of the 20th century by Fischer-Dieskau, alongside Mathis der Maler and Palestrina, Busoni’s Doktor Faust has never gained a place in the repertoire. Productions face many challenges, not least which version to use. Unfinished at Busoni’s death, Philipp Jarnach completed the opera for the premiere, unaware of the composer’s notes for its unfinished sections, realised only by Antony Beaumont 60 years later and memorably premiered by ENO with Thomas Allen and Graham Clark: would that Chandos could include that in their “Opera in English” series.

Presented here is Jarnach’s version, which Philippe Jordan prefers on musical grounds, “whether it really fits with the rest of the work or not”. He approves of Jarnach’s use of Wagnerian leitmotif and darker conclusion, finding it “simply overwhelming” and Beaumont’s more positive finale “drier”. I disagree profoundly; Jarnach’s version is – unavoidably – a misrepresentation of Busoni’s vision and stylistically jars the moment it starts. Beaumont’s may be a musicologist’s rather than composer’s edition but it gives us more of Busoni’s intentions.

That aside, this production has many strengths. Hampson, after seeming ill-at-ease in the first Prelude (parts of his role he finds “unsingable” but the whole a “masterpiece”), audibly grows into the role. Trattnigg is beguiling as the Duchess and Macias shines as the Soldier (Gretchen’s grief-stricken brother) and pompous Duke. The show is stolen, however, by Gregory Kunde’s Mephistopheles, a portrayal vocally superb throughout and brilliantly acted. The Zürich Opera House Chorus are excellent. Some of Jordan’s tempi are a tad measured but the orchestra’s playing is assured.

There are minor annoyances: for instance in Prelude 1, why do the Students not bring Faust the book, key and paper they sing about? A major omission is the Students’ serenade to Wagner (Faust’s former familius) at the start of the final scene. Wagner’s replacement of Faust as Rector is included in the sung text and meaningless without its representation onstage. Musically, the cut section provides vital contrast between the defiance of the second scene’s close and the denouement. Felix Breisach’s video direction is commendably unfussy, catching both the scale of the production’s biggest moments as well as Kunde’s mischievous expressions. The Devil is truly in the detail.