Nylund is temperamentally suited to this kind of thing - Isolde's so-called Liebestod is the disc's big success...yet she manages the conversational tone of [the Arabella scene] well, and her long address to the tree in Daphne is attractive too.

Camilla Nylund's soprano isn't classically 'Finnish' - it doesn't have that thick translucence, agility and piercing top-end focus - but it does boast considerable strength and a remarkable consistency of tone across its range...the voice's edge and power reveal the nihilistic desperation of both [Isolde and Salome], and the Tampere Philharmonic Orchestra finds extra reserves of warmth, shape and snarl beneath her.

The Finnish soprano's cool 'in-between' soprano - big lyric but definitely not hochdramatisch - speaks well in the numbers that do not require outright personal emotions. She evokes an affecting degree of dreamy distance in Elsa's account of her mysterious saviour...Lintu (like Pappano) and Ondine's recordists give us an extraordinary amount of detail

An intelligent musician, she is also exceptionally attractive and a fearless actress...the voice is youthful, solid, flexible and at ease in negotiating the high tessitura.