The Victorian paterfamilias would sternly point out that the spirit of Elijah must ever precede the spirit of Christ. “Take them down to Kishon’s brook and there let them be slain”: it was a wholesome lesson for obdurate children and recalcitrant employees as for the prophets of Baal. And Mendelssohn’s Elijah is a Victorian work. Maybe, therefore, the dramatisation of Elijah himself as, at least in part, a fierce, vengeful, distinctively Old Testament figure is justified. On records, Fischer-Dieskau’s portrayal (10/68) favours the hard edge of the prophet’s violent times rather than the kindliness that appealed to the composer’s audiences. Terfel too (9/97), though with warmer humanity, embodies the man of power, formidably dominant in what is, after all, “his” oratorio. Michael Volle is less so: less formidable and less dominant. Authoritative in declamation, vigorous in his “fire and hammer” aria, he nevertheless grounds his vocal style in lyricism and his expressive manner in moderation. I find this truer to Mendelssohn but can see that some may require a more strikingly charismatic representation.

If so, it amounts, I think, to the sole cause for criticism of this performance and recording. Frieder Bernius conducts his excellent Stuttgart forces with pace that never seems wilfully driven. Solos such as “Lord God of Abraham” and “O rest in the Lord” are not allowed their once traditional indulgence, but neither are they deprived of their generosity. All four soloists distinguish themselves, the soprano (Letizia Scherrer) with substantial, concentrated tones, remarkably pure in the upper range. The contralto (Renée Morloc) is convincingly vindictive in her role as Jezebel and judiciously benevolent elsewhere. Werner Güra is purposeful in expression and sweet in tone, and Volle displays a well nourished voice and scrupulous care for legato.

The chorus are musicianly in style, fresh and firm of voice; the orchestra win admiration both for the technical quality of their playing and their responsiveness to direction. Particularly satisfying is the balance, which has the chorus well in focus with no sense of recession. I found it one of the best performances I have heard, a measure of this being the absence of that customary feeling of there being some falling-off in the second half of Part 2 and that a chorus (or two) less would not come amiss.