"Märzendorfer produces yet another clean, crisp, finely drawn reading of the score. (Verdi would have died for a conductor this good in some of his productions.) When Violetta (Kristiane Kaiser) first begins to sing, the voice is slightly off-mike, which produces a beautiful ambience around it…. François Borras, is a shaggy-haired young tenor with the kind of French vibrato I thought had died out with Georges Thill…. I am much taken with his elegance of phrasing, the likes of which I haven't heard in many a long year…. Borras sings his offstage interjections in 'Sempre libera' more beautifully than I've ever heard them … and Kaiser also sticks to the score by omitting the traditional high E flat at the end. Verdi would have been proud of her…. Act II arrives on the impassioned wings of Borras's 'De' miei bollenti spiriti,' and I've not heard a more exquisite performance in ages. His singing here reminded me of Fernando de Lucia's elegant, impassioned interpretation, but without de Lucia's distortions of phrase and tempo. This is, indeed, bel canto at its best."—Fanfare