These two one-acters make a sensible and happy coupling. Cox and Box was Sullivan’s first sortie into operetta and it exudes youthful joie de vivre. Previous recordings with orchestra have been musically much shortened ones made in 1961 and 1978 by the D’Oyly Carte Opera Company for Decca. This newcomer is every bit as accomplished musically: its soloists are well chosen and the conducting is suitably light of touch. Moreover, the restoration of music cut by the D’Oyly Carte is gratifying, including second verses of three numbers plus the brief finale. On the other hand, the new linking narration is a poor substitute for the dialogue. Most disappointingly of all, by still omitting the Gambling Duet, a wonderful opportunity to provide a complete and definitive musical text is squandered.

With Trial By Jury competition is much greater. The most obvious comparison is with the 1995 Telarc recording under Mackerras, with which this newcomer shares a charming Plaintiff in Rebecca Evans. As the Defendant, James Gilchrist offers a tenor more appealing than that of his Telarc counterpart; but his adornment of ‘Be firm, be firm, my pecker’ is a distraction. So, too, is the affected voice assumed by Matthew Brook as Counsel for the Plaintiff, while Donald Maxwell – sound performer that he is – is less characterful than Richard Suart as the Learned Judge. Altogether, Chandos handles ‘production’ less securely than Telarc. Moreover, Charles Mackerras’s masterly interpretation offers insight and sparkle missing from Hickox. The latter’s breakneck tempo for the Judge’s Song seems especially ill-judged.

This newcomer has excellent notes by David Russell Hulme; but, welcome as the coupling is, it earns only a qualified recommendation.