Cardillac, derived from an ETA Hoffmann story, was the first of three operas Hindemith wrote concerning the role of the artist in society – the others being Mathis der Maler (9/94) and Die Harmonie der Welt (8/03) – and is the most extreme in subject and treatment. Much the briefest of the three, its swift-paced succession of arias, Lieder and duets are interspersed with instrumental forms and a masterfully placed vocal quartet (tr 16). The story of the obsessive goldsmith who loved his creations over everything else, even his own daughter, reclaiming them by murdering his customers, is depicted with almost cinematic precision. The version given here is of the 1926 original, not the flawed 1952 reworking. André Engel’s staging updates the setting from Louis XIV’s reign to a 1920s five-star hotel, cannily for a tale of obsession with luxury and riches. Another telling change in scenario occurs in transferring the visit of the King to Cardillac’s workshop in Act 2 to a nightmare of the sleeping goldsmith.

In this well cast production singing and acting are of a uniformly high order. Ventris and Minutillo are excellent as the Act 1 lovers, the latter’s ardour in particular in marked contrast to that of Denoke as Cardillac’s deliciously dowdy daughter, torn between devotion to her preoccupied father and love for the Officer. Her indecision renders her vocally as well as emotionally constrained unlike the Officer whose forced purchase of a chain provokes the final denouement. Only by her father’s dishonour and death is she released from his baleful indifference.

There is much admirable support elsewhere, especially Roland Bracht as the shifty Gold Merchant, but it is Alan Held in the title-role who dominates throughout. Nagano’s direction is first-rate and the orchestra, almost an unseen extra personage, respond magnificently with superb and idiomatic playing and wonderful solos, particularly the oboist’s in Act 1 (tr 5) and the flute duo in the ensuing Pantomime (tr 6). The sound is excellent, the video direction some of the best I have seen for a DVD opera. The accompanying documentary, mainly a slightly self-congratulatory discussion between Engel, set designer Nicky Rieti, general manager Gerard Mortier and critic Christian Leblé, contains several insights. Highly recommended.