Domingo's Tannhäuser is a success in almost every respect. He evokes the erotic passion of the Venusberg scene and brings to it just the right touch of nervous energy. This is boldly contrasted with the desperation and bitterness of the Rome Narration after the hero's fruitless visit to the Pope seeking forgiveness:Domingo's description of how Tannhäuser avoided every earthly delight on his pilgrimage is delivered with total conviction. In between he berates the slightly prissy attitude of his fellow knights on the Wartburg with the dangerous conceit of someone who knows a secret delight that they will never enjoy in their measured complacency. His tenor must be the steadiest and most resplendent ever to have tackled the part, although his German is far from idiomatic.
Baltsa also has problems with her German, but she has the range and attack for an awkwardly lying part. It's obviously Sinopoli's concern throughout to bring out every last ounce of the drama in the piece, both in terms of orchestral detail and in his awareness in this opera of the longer line, often sustained by the upper strings. The Philharmonia's violins respond with their most eloquent playing. The kind of frisson Sinopoli offers is evident in the anticipatory excitement at the start of Act 2 and the iron control he maintains in the big ensemble later in the same act. Cheryl Studer's secure, beautiful voice has no difficulty coping with Sinopoli's deliberate tempos. She takes her part with total conviction, both vocal and interpretative, phrasing with constant intelligence.
Andreas Schmidt is a mellifluous, concerned Wolfram, Salminen a rugged, characterful Landgrave and Barbara Bonney an ideally fresh Shepherd Boy.
The Covent Garden Chorus sings with consistent beauty of sound, and has been sensibly balanced with the orchestra. Domingo and Studer make this version a winner

Domingo as Tannhäuser for Sinopoli brings balm to the ears, producing sounds of much power as well as beauty. Sinopoli here makes one of his most passionately committed opera recordings...always individual, with fine detail brought out, always persuasively and never wilful.