Live, with a well disciplined but, when allowed, enthusiastic audience. Mr Leech makes what are politely known as compromises on his entry as Raoul, where half his initial appearance is cut (imagine that happening with Rodolfo in Boheme) and we head to the orgy -given complete, - rather like the Goons dashing round the back for the old brandy there, and does his (effortful) best with the romance, substituting or improvising alternative cadenzas to Meyerbeer's demands, but any trace of what Nourrit was apparently able to do in 1836 with this first of all the great modern tenor roles is hard to find. All modern "Huguenots" have to begin more or less like this, but until the role gets other than a jobbing repertoire tenor with approximate equipment, (it needs a male Callas, with a perfectly controlled voice throughout the register,or, failing that, at least a Georges Thill - to convince yourself that "Plus blanche..." could actually be sung as written, down to the cadenza, consult Jadlowker on YouTube) the work starts hobbled and has to go on either with its foot in its mouth, or one hand tied behind its back. You either soldier on, or you take a break and put the set back on the shelves for another day. But even so, this does often sound like music and we do get an idea of its influence. The most positive impact though, I'm afraid, still comes from the live, cut, La Scala "Gli Ugonotti" with Corelli, supported by a strong male cast, and Sutherland. Corelli isn't exactly historically or textually informed, but the theatrical experience does come to life. If it doesn't, "Les Huguenots" has to remain a dead, but immensely interesting, duck. Taxidermy isn't much of a substitute.