Ruy Blas is something out of the ordinary, and not only because of its sleek lines and uncommonly fast tempi but in one or two textural anomalies. Good sforzandos keep the drama level high but I was fascinated by what sounds like a single-note tremolando beginning of bar 5 on page 3 (Breitkopf score), at roughly 0'59", then some textural variants at around 1'09" that involve unfamiliar repetitions. I’ve never heard any of them before. Knowing Gardiner’s penchant for alternative versions of Mendelssohn, could this be an original or an unpublished revision of Ruy Blas?

Calm Sea and Prosperous Voyage subscribes to a similar interpretative formula, clean, driven and transparent, the opening not as prayerful as Edward Gardner’s Birmingham recording (Chandos, 4/15), but with some warmly blended woodwinds soon afterwards. The sea swell on strings at around 3'45" could have benefited from greater depth from below but the blustery excitement that sets in fully matches the impact of Ruy Blas.

The Reformation opens reverentially, with nicely tiered textures and gentle brass crescendos. The build towards Allegro con fuoco approximates a sense of occasion and the statements of the ‘Dresden Amen’ are beautifully played by the LSO strings. In the Allegro itself, which is doggedly emphatic, at least initially, Gardiner adds unmarked crescendos. Although the Allegro vivace Scherzo is well played, it flatly refuses to smile, until we reach the Trio, which just about manages a half-smile. Too swift for comfort, I would say. The close of the movement is matter-of-fact and those wondrous, wrap-around flute curlicues (tr 4, 4'15") go for nothing. The Andante drifts by without incident or offence and the transitional setting of Ein’ feste Burg is forthright, the Allegro vivace that picks up the message appropriately forceful, the switch to Allegro maestoso witnessing a further burst of energy. I personally prefer a less disruptive transition tempo-wise but I’m fairly convinced that Gardiner’s way was also Mendelssohn’s way. It’s a powerful reading, solidly argued, often exciting and vividly played though I’d ultimately opt for Zehetmair (MDG, 4/14) or, in the vintage stakes, Masur (Apex, 4/74), who is especially strong on Mendelssohn’s tenderness and sense of awe. The Blu-ray disc refines what is already, on SACD, a generally excellent recording.