Recordings of Carmina Burana come and go but what is unusual about this new version is the clarity of line and sonority achieved by Harding and his Bavarian Radio forces. Unlike Hickox’s barnstorming 2005 account made in the Barbican, Harding’s feels like a studio recording by comparison in terms of sound (and with little or no audience noise) yet has a concert’s sense of occasion. And as vivid as this live performance is, it is matched by scintillating sound that catches every instrumental and vocal nuance.

The chorus and orchestra are the key contributors, delivering their parts with compelling energy and control. Unlike Hickox’s choir, who let slip one or two infelicities of intonation, the Bavarian Radio Chorus are near-perfect; the orchestral picture is luminous and transparent. Yet Harding does not let matters of texture outweigh the expressive requirements, and the eagle-eared will spot some unusual interpretative touches, such as the curtailed pauses in “Ecce gratum”. These add to the immediacy of the conception, standing comparison with the best of the versions listed above (Jochum, Frühbeck de Burgos) and outclassing some more celebrated recent interpretations currently in commercial eclipse: Thielemann (also DG) and Rattle (EMI, both nla).

The soloists give good accounts of themselves, Petibon achieving a nicely judged emotional progression from innocence in “Amor volat undique” to ecstasy in “Dulcissime”, although like Laura Claycomb for Hickox she sounds uncomfortable in its soaring line (Lucia Popp for Frühbeck de Burgos remains unrivalled). Gerhaher is superb as the Abbas Cucaiensis though I prefer Maltman’s ardent lover on Chandos. Overall, then, this newcomer – while needing a little getting used to – is a definite front-runner and strongly recommended.