This is in some ways the finest modern recording of Lohengrin, in the first place on account of Sir Mark Elder’s superbly detailed, passionate and large-scale conducting of the Royal Concertgebouw Orchestra…[Vogt] is persuasive in the role [of Lohengrin]…Camilla Nylund is ideal, pure of tone but not insipid, and capable of always beautiful passionate outbursts

The biggest hurrahs go to Elder, the choruses…and the orchestra in its own home. Add Nylund’s vocally fearless heroine…Youn’s imposing Herald and Struckmann’s textually so clear and more baritonal-sounding than usual King, and that’s nearly enough…a valuable and mostly compelling document

Elder's reading is patient and sensitive, alive to the work's grandeur but never allowing that grandeur to spill over into bombast. It's a very fine account of the piece, and one that emphasizes the quiet tragedy at its core.

The light-voiced Vogt sounds genuinely other-worldly in the title role of the swan-knight...Katarina Dalayman is a real powerhouse of an Ortrud, and Camilla Nylund a womanly Elsa. The Concertgebouw brass really rattle the rafters in the big third-act fanfares.

It’s a spacious account, gloriously played. Katarina Dalayman’s spiteful yet beautifully sung Ortrud stands out.

From the opening bars of the first-act prelude, the refinement and transparency of the string textures that play such an important role in the unfolding drama of Lohengrin are a constant wonder; the brass is utterly secure without ever becoming too assertive, the woodwind instantly responsive, whether colouring its moments of ceremony and jubilation or adding dark hues to the plotting of the central act.