Strauss called the opera “a scherzo with a fatal conclusion”, a remark which some have construed as ironic but in this instance is an entirely apt description of Soddy’s interpretation: swift from the outset without ever being rushed, the orchestral sound glistening and slithery, the glutinous harmonies insidiously prised open. But when he reached the final scene, he allowed the pace to slow, and the dissonant lyricism and searing nostalgia that surged out of the pit were simply breathtaking. This is wonderful Strauss conducting, and a most auspicious debut.
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