It’s tough luck on this new performance of Britten’s masterwork that it came my way so soon after I’d revisited – for the umpteenth time – one of my reference recordings, namely Heather Harper’s riveting partnership with Neville Marriner and the Northern Sinfonia (3/71 – last sighted on a British Composers compilation). Emanating from a February 2021 concert at City Recital Hall in Sydney, and vividly captured by the ABC Classic microphones, this is an undeniably spirited affair that’s by no means lacking in musicality or fresh-faced spontaneity. Recipient of the 2010 Dame Nellie Melba Scholarship, soprano Jacqueline Porter is mostly equal to the formidable technical demands of the vocal part, but she’s no match for her prestigious, Belfast-born rival (who was, of course, one of the composer’s most trusted interpreters). Indeed, Harper’s fulsome tone, conspicuously articulate projection and fervent temperament never fail to nourish and astound – to say nothing of her thrilling identification with Britten’s exhilarating inspiration. The string-playing, too, is wanting in that crucial last ounce of lustre and finesse.

Founded in 2012, the Australian Romantic & Classical Orchestra is a period-instrument outfit, whose string personnel numbers around 20 – and, to be perfectly honest, I do find myself craving an altogether more ingratiating sheen and greater expressive fibre than these hard-working players are able to muster. (There are also, I should add, a smattering of none-too-convincing HIP slides with which to contend.) Sad to report, my nagging doubts extend to the remainder of the programme. Even Tchaikovsky’s most ardent admirers will concede that the Souvenir de Florence needs the most persuasive advocacy if it is not to outstay its welcome. Unfortunately, by the side of, say, Iona Brown’s superbly coordinated and invigoratingly lithe account with the Norwegian CO on Chandos, this admittedly eager newcomer still feels like a pretty long haul (we could also do with a reissue of David Zinman’s stunningly poised and winningly expressive Netherlands CO recording – Philips, 6/77, and still the benchmark in my view). Nor is the innocuous Bruch curtain-raiser – a rarity from the end of his career and only published as recently as 1997 – anything much to write home about.

Overall, it’s a release which, I suspect, will find favour primarily with loyal supporters of these particular artists.