Recordings: Kernis’ quartets get their due; Cuban music’s subtler side is revealed; old-time Puccini is unearthed, and more.

Often discounted, dismissed and disrespected in his own century, Gian Carlo Menotti’s reputation as an opera composer ought to be turned around in the 21st; the time is ripe for a reassessment.

These new recordings of Menotti’s unquestioned masterpiece may begin the process. They are both sweeping, harrowing and astute realizations of a great work too often bypassed and ignored. Hickox’s symphonic bias, and the strength of his orchestra, show off the composer’s instrumental achievement, even in moments swamping the singers; Revzen’s more modest, at times undernourished band creates a pungent, often touching accompaniment.

Susan Bullock’s opulent, detailed Magda Sorel vocally dominates the Spoleto cast; leading the Berkshire gang, Beverly O’Regan Thiele operates with more slender vocal resources but, with equal dramatic force, holds the aural stage. Joyce Castle (Mother), Michael Chioldi (John), Arianna Zukerman (Anna Gomez) and Elisabeth Canis (Vera Boronel) stand out strongly in the Berkshire ensemble. From the Italian performance, Victoria Livengood contributes a chilling, solidly sung Secretary. Conductors Hickox and Revzen hold their respective performances together with compelling musical intensity. Menotti’s day will come.

*

Albums are rated on a scale of one star (poor), two stars (fair), three stars (good) and four stars (excellent).