Mattila’s new recital is notable for its exploration of some rarities in addition to more familiar repertory in the German field. Most welcome is Euryanythe’s Act 3 scene where the titular heroine reveals her interior feelings when she is in dire straits. Not only is the music of a calibre to make one regret once more that Weber died just when he was seeking pastures new in opera‚ it is also a vehicle for some thoughtful and emotionally intense singing on the soprano’s part. In the seldom­heard concert aria by Mendelssohn (though it featured in one of Janet Baker’s final recordings)‚ she revels in the opportunities for vocal flexibility. The piece bears some resemblance to Beethoven’s ‘Ah! perfido’‚ another offering that finds Mattila in responsive form. I am not quite so happy with her readings of the more familiar items. The explanation may lie with a somewhat ‘fixed’ production that prevents many shades of colouring in her delivery‚ but more importantly with her seeming inability to illumine phrases or individual words with personal meaning‚ as so many Leonores and Agathes of the past have done. One admires the technique‚ one or two weak moments of coloratura apart‚ while wanting that extra individuality and warmth of a Lehmann‚ a Janowitz or a Behrens. This Leonore never quite manages to convince one of her desperate predicament. This Agathe isn’t quite the vulnerable‚ eager woman of Weber’s imagining. In Rezia’s scena from Oberon‚ commendably sung in English‚ one would like to hear a more rapt‚ then eager note in Mattila’s tone; nevertheless she conquers the steep challenge of this big piece with commendable reserves. Colin Davis and the Staatskapelle are imaginative partners in repertory that is very much after the conductor’s own heart – once or twice his identification with the music in hand causes him to make his own vocal contribution – and the recording nicely balances voice and orchestra. Mattila enthusiasts won’t be deterred by my reservations. Others may like to sample first.