Domingo is simply phenomenal, given that he turned 67 the month the recording was made, sounding ardent if sometimes, not surprisingly, vocally pressed. There are fine performances in secondary roles...and impressively idiomatic conducting by Alberto Veronesi.

in Angela Gheorghiu [the title-role] gets an interpreter of impeccable vocal beauty and dramatic power...the luminous and mysterious glow of [Domingo's] voice is no longer what it was, but he more than compensates with irresistable passion, dramatic weight and still-super-secure top notes.

the refulgence [of Domingo's tone] is heart-warming. One is constantly having cause to revise, or to regard as incomplete, any written estimate of Domingo's career as a singer, and here is another instance...The generous provision of small parts is made the most of, and recorded sound is clear and spacious.

[Domingo] communicates splendid dramatic involvement throughout his performance here...both charm and white-hot passion are required, and in neither department is Domingo lacking...the middle voice remains as burnished as ever...The Monnaie orchestra plays with great beauty and accomplishment under Alberto Veronesi.

[Domingo] sings with tremendous refinement

Fedora herself is the crux of the opera, and Angela Gheorghiu brings the full weight of her imposing, aloof delivery to the role.

Both [Domingo and Gheorghiu] give highly assured and vividly characterised performances...[they] sing with the requisite ardour and commitment, stirring up a storm in the long final duet...Alberto Veronesi’s conducting keeps crashing vulgarity at bay. Those who like this sort of thing will like this very much indeed.

[Domingo] has plenty of heart, a key ingredient in a part whose dramatic requirements are few apart from appearing ardent, unfortunate, and misunderstood. Backed by stage experience in the opera, Domingo conveys these qualities easily...Veronesi, with the orchestra and chorus of La Monnaie in Brussels, lavishes affection on Giordano’s score