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Isokoski, Georg, A. Hoffmann, Larsson, Behnes, Steingotter; Orrego, Lika, Fischer, Dahm, Pfutzner; Chorus Musicus, New Orchestra, Spering Libretto & translation. Opus 111 OPS-30-167

Der Hausliche Krieg (Domestic Warfare), also known as Die Verschworenen (The Conspirators), concerns a group of medieval wives who plan, as the liner notes discreetly put it "to refuse all affectionate exchanges until their belligerent [Crusader] menfolk promise never to go off to war again." Neither feminist nor pacifist in purpose, it is a lightweight singspiel that seems to sit midway between Die Zauberflote and Gilbert and Sullivan. Franz Schubert's gift for graceful melody didn't fail him, though in this case there was little call for character portrayal, making the singers' task more difficult.

Thanks to Christoph Spering on the podium, this is a lively, well-shaped performance. Except for the Finnish soprano Soile Isokoski, who offers security and subtle phrase shaping in the main female role of Countess Isabella, the cast is undistinguished but adequate. Mechthild Georg as the page Udolin and Anke Hoffmann as Isella, a Crusader's wife, offer fresh voices but somewhat tentative delivery. As Count von Ludenstein, the heroine's husband, bass Peter Lika woofs amicably along. The secindary couple. Astolf and Helene. are vocally well balanced: Rodrigo Orrego's light lyric tenor registers some concern for the emotional content of his lines, while Lisa Larsson's lack of brightness lends a thoughtful quality to her soprano. No spoken dialogue is included.