Kaftan keeps a firm grasp on the rapidly developing drama and is at his most impressive in the preludes to each act...James is an affecting Jenufa and Ales Briscein is convincingly passionate as Laca, though at times his tone is surprisingly raw; in the key role of Kostelnicka, Iris Vermillion is vocally impressive, but her diction is often far from clear.

Vermillion dominates the opera, but she has in Gal James a beautiful Jenufa, appealing in her predicament...capable of a full lyrical outburst at the end. Taylan Reinhard delivers an impassioned Steva; Ales Briscein is a Laca who grows in stature to establish his right to Jenufa's affections...Kaftan clearly admires a score which he sometimes rather over-emphasises.

The cast is a strong one. In the title role, the Israeli soprano Gal James offers lyricism, vulnerability, pride and depth of feeling in a performance that possesses an overall radiance while homing in on some individual moments with exceptional vividness—her upbraiding of Števa for his neglectful behaviour in Act 1 being one notable example. As the Kostelnička, the mezzo Iris Vermillion’s voice may be showing signs of wear these days, but hers is still a substantial and resilient instrument, as well as being one that can offer a considerable range of colour.