At its best, indeed, in the unadorned unfolding of hell and then heaven, the experience strikes fire in a manner crucially lacking in other filmed Orfeos. Unfortunately, not even this one comes free of curious directorial glosses...But since [Mehta] is a superbly commanding, passionate interpreter of Gluck's vocal lines, and since his cast colleagues give accounts of their music no less sensitive, the powerful impact of the whole survives the passing flaws.

[Mühlemann] portrays the character [Amor] with great charm. Eva Liebau is excellent as Eurydice, uncomprehending and then furious...Mehta mourns Eurydice at the start with tenderness, and there's a nice sense of wonder at the Elysian Fields...The period orchestra under Vaclav Luks is fine. There is much to enjoy here.

[Mehta's] creamy tone and expressive use of vocal nuance is a notable strength...his acting is committed and his vocal articulation, expression and characterization are exemplary...Eva Liebau sings strongly and acts well as Euridice whilst Regula Mühlemann as Amore, in colourful attire, and after a spectacular entrance, does so as well.

Using the 1762 Vienna version of the score (with judicious cuts), it boasts an Orfeo of blazing dramatic commitment in countertenor Bejun Mehta and makes haunting use of light and shadow, especially in the great Hades scene.