Don’t be fooled or put off in any way. It may be intrinsic to this ensemble’s basic mission to perform on the historic instruments housed in the Smithsonian, but if you think that deters this from being one of the most gorgeous and best recent versions of the original chamber arrangement of Schoenberg’s “Verklaerte Nacht,” think again. This is an exceptional disc in every way— great performance of one of the most powerful of all late-Romantic masterworks and its perennial disk-mate, the Chamber Symphony from only a few years later. The DVD of the Smithsonian performance with commentary by the likes of Reinbert deLeeuw is a splendid addition to it.

Despite her great compositional facility, Maconchy did not attempt to write opera until she was approaching her fiftieth year. Between 1956 and 1967, she created three one-act operas, the first two of which are presented in this excellent Chandos recording by Independent Opera at Sadler's Wells.

The Sofa, a light, farcical comedy, was completed in 1957. Librettist Ursula Vaughan Williams (wife of Ralph) updated a seventeenth-century French satire of Claude Prosper Jolyot de Crébillon (aka "Crébillon fils"). Dominic, a decadent prince, so angers his grandmother with his philandering ways that she uses her witchcraft to transform him into a sofa. He is to remain in this condition until "love's consummation" occurs right on top of him. The music is vibrant and witty, making references to Beethoven, Puccini and the Viennese waltz tradition, yet without lapsing into gimmickry. Nicholas Sharratt is quite charismatic as the Prince, and Josephine Thorpe is commanding in her brief appearance as the Grandmother. Sarah Tynan gives an alluring portrayal of the soubrette, Monique, and George von Bergen gives a superbly comic depiction of Edward, a pompous would-be suitor of Monique and thus a rival to the Prince.

The Departure was written and first performed in 1961, with a libretto by the poet and editor Anne Ridler. In complete contrast to the lightheartedness of The Sofa, The Departure is a profound, thought-provoking work. The story revolves around Julia, who awakes confused, unable to find her husband or her belongings. We realize before she does that she has already died. The opera is a meditation on the nature of death and our ultimate acceptance of it. Julia is a fantastic role for a mezzo-soprano, and Louise Poole gives it her all, contributing a heartfelt, haunting performance. As her husband, baritone Håkan Vramsmo rises to similar heights. One aches for him in his loneliness and loss. Maconchy's music here is haunting, with very lyrical vocal lines that frequently partake of a modal style of melisma. Her instrumental writing is sensitive and inspired.

Both operas receive performances that any composer would die for. The casts are first-rate, and the orchestra is excellent. Dominic Wheeler's direction is flexible and deeply compelling. It is a pity that the Chandos release does not include Maconchy's third opera, The Three Strangers, so that one could experience her entire opera-house oeuvre. One can only hope that at some later date Strangers will be recorded and released, preferably by Independent Opera.