The 1987 Pesaro Festival staging, the first since 1819, was a memorable occasion, though as Philip Gossett, the Critical Edition’s co-editor, later revealed in his brilliant page-turner Divas and Scholars: Performing Italian Opera (Chicago, 2006) the event was far from a triumph musically. The conductor was ill-prepared and Montserrat Caballé gave a performance of the title-role so laden with adjustments as to be little more than an approximation. Whatever its theatrical shortcomings, this 2008 Pesaro production is both better sung and better conducted.

It was not until 1992 when Mark Elder conducted two electrifying performances at the Queen Elizabeth Hall with Anna Caterina Antonacci as Ermione that the work’s full musical stature became apparent. A Glyndebourne staging followed directed by Graham Vick, again with Antonacci in the title-role. It makes slightly gloomy viewing on the small screen (NVC) but both as a performance and as a production it is infinitely more compelling than this 2008 Pesaro version directed by Daniele Abbado. Set in a series of empty spaces that are meant to pass as prison and palace, the Abbado is for much of its course little more than a concert in costume. The Ermione, Sonia Ganassi, is very much a clutch-and-stagger performer; other members of the cast who may well be able to act are barely required to do so. Vocally the Oreste, Antonino Siragusa, is almost as impressive as Glyndebourne’s Bruce Ford. His playing, however, lacks intensity, nor is he averse to stepping out of character to milk the applause.

The production briefly stirs into life as the opera moves towards its traumatic end. There is even a close-up of Ermione’s hand on the fatal dagger, a rare initiative by the video director. With the very serviceable Scimone recording (Erato, 10/88) no longer available, collectors wishing to acquire Ermione are unhappily confined to DVD. This is a pity. Like so many opera DVDs, this Pesaro production would have worked far better on CD.