[Nézet-Séguin] brings to Mozart's music springy rhythms and a strong sense of continuity and poise...Few recordings can match the team of expert singers who display their talents here...Persson is a world-class Fiordiligi...[Brower] carves each lines incisively through the texture...Villazon as Ferrando is captivating...Plachetka as Guglielmo lets us hear every word.

As before, Nézet-Séguin shows himself to be an excellent Mozartian. Time and again he beguiles the listener with subtle phrasing...[Persson sings] with gleaming tone and noble fervour...Corbelli makes his mark in the ensembles through his idiomatic attention to the text...Villazon scales his Verdi-size voice down effectively, with only a hint of sliding.

Così finds [Villazon] in healthier voice, even if Ferrando’s emotional rigours push him towards unstylish verismo sobbing. Alessandro Corbelli’s idiomatic Alfonso and Miah Persson’s girlish, vulnerable Fiordiligi approach perfection, while Nézet-Séguin and co offer an ideal balance between humour and pathos.

the miracles of this opera are the ensembles, and these work brilliantly, underpinned by the crisp playing of the Chamber Orchestra of Europe, culminating in a second-act finale whose pathos, force and passion are truly sensational.

The continuo parts in the recitatives are nimble and witty...The women easily capture their assigned personalities: seraphic, volatile or worldly-wise...Thumbs up for Alessandro Corbelli’s lived-in baritone, a good fit for Don Alfonso...the orchestra’s stunning. There’s humour here, plus genuine feelings.

[Villazón is] sounding wonderful after an extended period of vocal troubles...Mr. Nézet-Séguin is the star, though, for the vibrant, stylish and textured performance he draws from the cast and the excellent orchestra.