Peter Moores says in his booklet-note that a ‘fantastic cast’ has been assembled – an odd piece of hyperbole. Well, let’s begin not with those singers but with some of the best things about this set. David Parry offers just about his most successful reading to date in this series. He has a true feeling for the music’s ebb and flow, and judges his tempi well, obtaining vital and detailed playing from the LPO, so that the tragedy moves inevitably to its climax. The stature of the piece (here in its Swedish version) is boldly proclaimed.

The supporting material is, as ever, admirable and Amanda Holden’s translation is well-constructed and easy to sing, though few of the cast make the most of it. Dennis O’Neill’s King Gustavus III is an exception, and his knowledge of Verdian style is an obvious asset. Against that, however, must be set the strain at the extremities of his register and an occasional wobble, both of which sometimes make for uncomfortable listening. His Amelia is the American soprano Susan Patterson, who offers her appreciable all in emotional commitment and spinto tone, though her voice too often sounds stretched when pressure is placed on it. Where today is the fullness of tone among English-speaking sopranos of (say) Joan Hammond and Josephine Barstow?

As the fortune-teller Ulrica, Jill Grove – another American singer – is under similar pressure. Anthony Michaels-Moore is a baritone of proven Verdian capabilities, even if his tone needs a touch more bite to it: Ankarstroem’s big Act 3 aria is a fine expression of rage shading into sadness at his wife’s seeming infidelity. Linda Richardson is a sparky Oscar, but her voice grows harsh on high. The two conspirators sound irredeemably English in style and accent – as do the Geoffrey Mitchell Choir.

So where does that leave us? Followers of this series will enjoy an honest, honourable traversal of the score but even at mid-price it has to match up to many good versions in the original (which can easily be followed with a libretto). I wish the Moores Foundation would return to its policy of recording evenings in the theatre which have the potential for historic value, as it did with Janet Baker in Mary Stuart and Werther.