For admirers of Kurt Weill’s later music­theatre style‚ which began in 1927 with the Mahagonny­Gesänge‚ his three early one­act operas pose a bit of a problem. Obviously influenced by his teacher Busoni‚ with just enough dissonance to sound modern without being atonal‚ Der Protagonist was successful at its 1926 première in Dresden‚ with a cast including Kurt Taucher and Paul Schöffler. It had productions in 10 other German cities‚ but then‚ along with all of Weill’s music‚ was banned by the Nazis in 1933. It has had the occasional revival in the last 25 years – it was produced in London in 1986 – on a double­bill with Der Zar lässt sich photographieren. The libretto by Georg Kaiser‚ based on his own play‚ is set in Elizabethan England. It is a sort of variation on Pagliacci: a troupe of strolling players rehearse a mime play in the courtyard of an inn‚ but reality takes over from play­acting as the leading lady is stabbed to death by her jealous‚ crazed brother. Der Protagonist is mostly through­composed‚ with a dramatic duet for the heroine and her lover. Two long orchestral interludes provide music for the rehearsal of the show‚ first in comic mode‚ then the same story acted for tragedy. Weill’s mastery of the orchestra was already complete when he composed the work in his 26th year. The instrumental players are divided into two groups‚ a wind octet on stage‚ and a full­scale symphony orchestra in the pit. The textures are unmistakable‚ the familiar use of fleeting melodies giving way to jagged‚ urgent rhythms. The distinguished critic Oskar Bie‚ reviewing the first performance (conducted by Fritz Busch)‚ commented on the idea of ‘orchestral versus chamber music’. The writing for the octet is jokey‚ suggesting insanity. The large­scale orchestra mirrors the overpowering emotions engulfing the characters. The pantomimes have wordless vocal lines‚ what Bie called ‘modern coloratura’. Throughout‚ one can detect the seeds of Weill’s later style; what is lacking is any aria or duet that can be extracted‚ or that has a really memorable tune. John Mauceri‚ returning to Weill a decade after his Decca series‚ leads a first­rate performance. The recorded sound is admirable‚ revealing the intricate detail of Weill’s ultra­sophisticated score. Robert Wörle is excellent in the title­role – the demands on the voice are intense‚ the mad scene at the end worthy of Berg. As the sister‚ Amanda Halgrimson is sometimes strained by the fierce declamation demanded – the score is dedicated to Lotte Lenya‚ but calls for a real operatic voice. The other parts are taken with distinction‚ but it is the orchestra that is the star here. Highly recommended to those who want to know more about Weill’s development‚ and opera in the 1920s‚ but not for those looking for divine decadence of the Berlin cabaret scene.