I remember John Lanchbery's Nutcracker on its original issue, from its packaging. Sponsored by Du Maurier it looked like a cross between a handsome red chocolate box and a packet of cigarettes. That individuality has disappeared and all that remains of the cigarette company is a diminutive logo in the right-hand corner. The recording made at No. 1 Studio, Abbey Road was early EMI digital and very good too. The sound is brilliant in an ear-tingling way, but not edgy and it makes the big Act 2 Divertissement glitter with sparkle and colour. The Philharmonia playing is marvellous full of flair and throughout the score John Lanchbery adds many little touches to prevent even a suspicion of blandness. In the more atmospheric music of the First Act, one would have liked a more evocative resonance to the sound (as on Mackerras's Telarc recording), although the performance itself never falls into routine for a minute. But I enjoyed Act 2 enormously: the ''Waltz of the Flowers''—beautifully done—is a perfect example of the ballet lilt Lanchbery produces and there are subtle contrasts of light and shade and hints of ritenuto which show his absolute sympathy for Tchaikovsky's miraculous score. This is certainly a distinguished set, but EMI would have been wiser to reissue it at midprice, given the competition. Indeed on points I would still choose Previn also on EMI (or Mackerras), although I could be very happy with Lanchbery on a desert island—one would only have to play Act 2 immediately to cheer up. Incidentally, nicely placed among the various national dances, the conductor has added an ''English dance'' which he has scored himself. It only plays for 42 seconds, but it is a very delightful 42 seconds. The big Act 2 Pas de deux, incidentally is magnificent—very spacious and gracious. Yes, I like this set a lot.
Previn's Swan Lake dates from 1976. It shows the LSO on top form and there is much polished and elegant playing throughout. On LP the recording originally sounded sumptuous but a little bland, but with Ida Haendel brought in to play the violin solos and consistently responsive playing from the wind, there is much that is refined and enjoyable. The digital remastering has made the sound brighter and more immediate. The First and Second Acts still sound rather relaxed, but Act 3 comes off splendidly, although the occasional slight loss of refinement in the sound accompanying the clarifying process is rather noticeable at the very opening of the second disc (No. 13, ''Danse des cygnes''). Tchaikovsky's spectacular finale, however, has certainly gained in impact and vividness. An enjoyable set then and definitely preferable to Ozawa's on DG which by comparison seems a little lacking in character, whereas Previn is never faceless.
According to the accompanying booklet Dorati's complete Sleeping Beauty was recorded over a period between 1979 and 1981. This does not show in the recording, which is consistently full, with the Concertgebouw acoustics bringing rather thick orchestral textures, quite different from the sound one would expect in the ballet theatre. Dorati is often dramatic, but he produces a feeling of routine in much of the lyrical music (in spite of beautifully turned phrasing from the Concertgebouw strings and many fine wind solos). This is a very long ballet and here it sounds long.'