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“It was this staging that conclusively restored the work to the repertory when directed with such utter conviction in Alix Stone's and Colin Graham's evocative sets, and Stone's proud costumes. Many fine singers graced the title-part over the years. Sarah Walker is among the foremost of them. Barstow is, of course, unforgettable, but Walker's portrayal stands up to the comparison and, though a mezzo, she has no trouble with high-line passages.
At the time ENO still boasted fine ensembles.
Every other member of the cast surpasses its Opera North counterpart: Rolfe Johnson's manly, hot-headed and finely sung Essex, Richard Van Allan's menacing Raleigh, Jean Rigby's moving Frances Essex, Alan Opie's sly Cecil.
Over all presides Mark Elder, projecting a grandly conceived yet subtle account of the whole score, played with acumen by the ENO orchestra. This is an experience of a great company in full flight and should not be missed; it gives the score in its entirety, allowing us to hear what a dramatically varied and superbly crafted piece of work Britten's opera has proved to be.” Gramophone Classical Music Guide, 2010

“An arresting portrayal, which is supported by a number of outstanding performances, notably Anthony Rolfe Johnson’s ardent and beautifully sung Essex.” Sunday Times

“Walker sings and acts powerfully, with her final signing of Essex's death warrant at once vehement yet regretful. Even the small roles are splendidly taken.” Penguin Guide, 2010 edition ***

“Luciano Pavarotti and Mirella Freni turned in incandescent performances as Puccini's young lovers.” San Francisco Times 1988

“This recording received a complimentary review from John Steane when it appeared in LaserDisc format back in May 1993. One can share his enthusiasm for the restraint and experience of Freni and Pavarotti, who (even in 1988, when the performance took place) didn't look like the young lovers predicated by the libretto, but who made up for it with the 'rich humanity' (JBS's words) of their portrayals, although both evinced the occasional moment of strain that confirms they were no longer in the full flush of vocal youth. Ghiaurov, at 59, remains a tower of strength as Colline, although his voice sounds a shade rusty. These veterans tend to show up the relatively casual, upfront performances of the remaining singers.
The conductor is sympathetic to the needs of singers and score.
The staging is traditional in the best sense, even if it can't rival the great Zeffirelli/La Scala production, also with Freni (reviewed above). Brian Large has his cameras in the right place at the right time, with a fine balance of distant and closeup shots. The sound has plenty of atmosphere, but the voices aren't given enough prominence.” Gramophone Classical Music Guide, 2010

“Distinguished by its accuracy, and its special aura, especially in the form of Barbara Bonney, who eschews angelic purity for an affectingly feminine interpretation of Brahm's memorial to his mother.” Gramophone Magazine, April 2008

“It is all well directed by Thomas Grimm and very well edited by Soren Kirk, most notably in Nascimento where the deft editing matches the dance very effectively. The notes are adequate and the disc offers PCM stereo and menus in English, French, German and Spanisn. Technically it is well up to Arthaus Musik's usual standards.” International Record Review

“This Grupo Corpo performance is a ritual of homage to energy, youth and the beauty of the human body, the interplay of the genders, the interaction of light, music and gesture.” MusicWeb International

“There's real feeling in his music making, a sense of genuine connection with the spirit of the music ... his cello sings with almost human expressiveness” Classics Today

“…the austere visual dimension can have the effect of focusing one's listening, not least as the interior of the 12th-century Servatiuskirche auf dem Streichen at Chemgau makes a fitting backdrop both for the music and for Yang's vision of it. Just as the church manages somehow to be both beautiful and austere, so Yang is unafraid to let fundamental full tone achieve a powerful sonority in places, while at the same time keeping his readings light with some adroitly detailed articulation.” Gramophone Magazine, November 2006