Paul Dyer has said that presenting Monteverdi’s L’Orfeo was a long-held dream of his. The reality is something he and the Australian Brandenburg Orchestra can be proud of.

Working from a new edition by Italian harpsichordist Rinaldo Alessandrini, who has made an exemplary recording of this early Baroque opera, Dyer led cast and orchestra with his usual exuberant flair in lively wedding scenes and sinfonias, toning it down for sombre moments of reflection and tragic blows.

The semi-staged production required little more than a few choice costumes and some basic choreography, but the ABO’s familiar flock of theorbos, recorders and harpsichords gave the small chorus of nymphs and shepherds plenty of exotic scenery to frolic (or at least shuffle) through.

Launching into the majestic opening cantata with an atmospheric cymbal crescendo was one of many imaginative details that really put the Brandenburg touch on this performance. (Though they would do well to retire those irritating new-age chimes!) Strings and winds were the most beautifully blended I’ve heard from the ABO all year, and brass acquit themselves admirably with bright, unblemished interjections – those pesky Baroque trumpets and sackbuts don’t always sound completely house-trained from one concert to the next.

The madrigal-sized choruses were...