Prêtre and Gorr have this music in their fingertips, while Vickers, as usual, leaves his mark on the role of Samson despite his mangling of the text. Prêtre knows the difference between vulgarity and exoticism and steers the work through to a devastating conclusion.

F-D gives us about two thirds of Schubert's production in his DGG set, much of it unmissable, although occasionally there is a feeling that both he and Moore are sight-reading. It nonetheless remains one of the monuments of music and record-making. The comparisons with the early EMI set are fascinating. Souzay offers a different but no less valid approach, while Ameling's purity often captures the essence of Schubert. The Baker set, long unavailable, introduced us to some of the masterpieces slumbering among the pages of the complete songs. Wunderlich's freshness is ideal for the Wanderer, while the youthful Hotter captures the wintry bleakness of the later cycle. Ameling's early recording of the song with clarinet obbligato is the perfect celebration of spring.

Wunderlich in the original tenor keys exactly captures the mood of Schumann's Heine settings, every one of his vocal cords in place so that his mellifluousness contributes immensely to our enjoyment.

The three Straussian sopranos of the 50s and 60s discovering a new work, and all bringing their own sterling qualities, aided by their conductors. And note, the work was played much faster than it is today when too many singers and conductors confuse slowness with profundity.

The perfect fusion of singer and role, you can almost sense the physical beauty of Della Casa in her most famous role. London's vocal qualities did not make him the ideal recording artist but the sexiness does come through.

The first is a classic Legge product, perfect in all its details, impeccably performed yet quite alive, the second a document of a performance celebrating the composer's 80th birthday, with performance hitches which matter little when listening to Reining soar through the role with an ease unavailable to Schwarzkopf. Both are essential to an understanding of the work.

How did Legge consistently manage to turn out such magnificent recordings? This first recording of Strauss' ultimate opera remains unsurpassed to this day, and with such a dream cast how can we expect anything else.

The torrents roar in the persons of Varnay and Höngen and the masterly control of Reiner ensures that nothing goes astray, either in the pit or onstage.

The earliest of Böhm's recordings remains a monument, recorded because the participants wanted to even though Decca thought the risk was too great. It remains the best recording, for the young Rysanek, the warmth of Schoeffler, the demoniac qualities of Höngen and the devotion of the conductor.

The myth restored to currency so that we can all hear that Welitsch as Salomé was unique. And with the towering Jochanaan of Hotter in amazing voice and the biting Herodias of Höngen, all under the incandescent baton of Reiner, just sit back - if you can - and regret you weren't there.