Altinoglu conducts with idiomatic flair, varying the pace in a way that points up the score’s strengths. Gubisch’s contralto-ish Thérèse sounds a touch matronly, but the tender husband-and-wife duets with Dupuis’s mesmerising André (the baritone, here stealing the show) make for compulsive listening

The scale is small, the plot thin, but the opera has its moments: one of them is the flowing 'O Therese, regarde', sensitively phrased by Etienne Dupuis. Nora Gubisch and Charles Castronovo are splendid

[Gubisch brings] a keen dramatic and psychological edge to her character. Her moment of madness when she betrays herself at the end is spine-tingling stuff...Dupuis almost takes centre-stage...with his beautifully projected big-lyric baritone and eloquent declamation...French music seems to suit [Castronovo] perfectly

Set during the French Revolution, this rarely recorded 1907 opera languished in obscurity for most of the twentieth century, but is grippingly brought to life here by the compelling vocal actress Nora Gubisch, authoritative baritone Étienne Dupuis as her husband André and the young American tenor Charles Castronovo (who is surely a wonderful Werther and Des Grieux in the making) as her lover Armand.

Potentially melodramatic, the story is tautly and concisely presented...It's beautifully recorded, Nora Gubisch is a touching Thérèse and Charles Castronovo the ardent Armand.

Altinoglu conducts a passionate, if occasionally hard- driven, account of Massenet’s late work. The piece is uneven, but if you’re interested in Massenet this is a must-have – a rare work given an excellent performance...astronovo is his usual stylish self, and the remainder of the Francophone cast is generally very good.