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All recordings of this inventive biblical drama rest in the shadow of Ansermet’s vintage Decca version. Sixty years on, the same orchestra (albeit scaled down to Honegger’s original pit band) triumph with a performance which outclasses its predecessor in nearly every department. If Christophe Balissat’s narrator is a little on the cool side, solo singers are uniformly excellent (especially mezzo Marianne Beate Kielland). Reuss paces the drama perfectly and is well served by his engineers. Anyone unfamiliar with this work now has no excuse.

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