Riccardo Muti has done much to return La Scala to its place as the leading opera house for Verdi stagings. Both of these examples are typical of his meticulous care in following the precise requirements of the score in traditional stagings of some imagination. Both have appeared on VHS and on CD (they originate from Italian radio and TV).

The 1982 Ernani was greatly appreciated at its première. The video director avoided Luca Ronconi’s conceit of having an ‘audience’ on stage, rightly concentrating on the superb performers; they are well directed. Once past the trial of her aria and cabaletta, in which she is a trifle nervous, Freni sings and acts a vivid Elvira, pouring out rich tone unstintingly, Domingo is the very epitome of the fiery, ardent hero of the title, and gruff old Silva is sombrely and movingly portrayed by Nicolai Ghiaurov. But the most arresting performance comes from Renato Bruson in the grateful baritone role of Don Carlo. With his mellow, evenly produced voice, innate sense of Verdian style and gifts as an actor, he is in a class of his own.

As it happens, the baritone in the 1989 Vespri is another superior Verdian. Giorgio Zancanaro’s Montforte is sung with incisive and generous tone and with a feeling for the father’s predicament when faced with an unruly, rebellious son. His ruminative aria that opens Act 3 is most poignantly delivered. This staging had a mixed reception on its first night in 1989, but by the TV relay had developed into a magnificent traversal of the uneven score, not least on account of Muti’s fervent advocacy and the fine playing of his orchestra. Pier Luigi Pizzi’s sets are colourful, his staging adequate.

Cheryl Studer, then in her heyday, did little better than her tormented, deeply-felt Elena here, nor was Chris Merritt heard to stronger effect than as Arrigo. Studer is particularly effective in ‘Arrigo! Ah, parli a un core’, floating a secure line on firm, beautiful tone; Merritt is confident and secure inhis high-lying Act 4 solo.

Ferruccio Furlanetto’s voice may not be imposing enough for the insurgent Procida but he makes the most of what he has. The long ballet is well led by Carla Fracci’s eloquent dancing. All in all, justice is done to Verdi’s noble but sprawling concept. On both sets the picture and sound are excellent, albeit in 4:3 size.