“Janowski keeps the score, which has some longueurs, moving and builds up impressive climaxes in each act. I would say that this is the best recording since that made in Bayreuth in 1962.”
“Janowski's casting aims at getting an audible distinction between each voice. Both women have the measure of their words, while Robert Dean Smith - apparently a late substitute - continues to develop with a passionate assault on the fiendish title-role. Swift tempi and light orchestral/choral textures complete a potentially exciting live performance.”
"The orchestra play like gods for him, and they are helped by brilliant Pentatone sound that picks up every aspect and opens up the inner textures of the ensemble, particularly those at the end of the second act, which can often get lost in the overall sonic fog."