(and masterful) formal design: all these aspects repel some as they attract others. Yet cabaret burlesque is as integral to the opera's make-up as high operatic tragedy. Paul Daniel and the Chandos engineers don't let us forget it. Piano, saxophone and vibraphone get the prominence they deserve. The farcical comings and goings in Parisian salon and London garret alike spring to life without the inevitable noises-off and drop-outs of an in-house recording... For Lulu in the raw, a Rosenkavalier with no underwear, I'll take this.'

BBC Music Magazine
'Throughout, the conversation-pieces, ironic exchanges and occasional splashes of coarse humour rendered by Richard Stokes's painstaking translation are delivered with verve, meshing confidently with the finely-balanced orchestral web of sound.'

The Guardian
'Paul Daniel makes sure Berg's complex vocal and orchestral textures are presented in a natural way, so that every word is distinct. And having a cast who have grown into their roles on stage is a wonderful bonus.
Lisa Saffer's Lulu is a tour de force, vocally dazzling, with a touching core of vulnerability. Susan Parry's Geschwitz provides the opera's link with real humanity, while Robert Hayward's Schoen is a provocative mixture of protector and predator. But the smaller roles are equally vivid, so that Berg's whole panorama of human weakness comes to life. Even if you already have a version of this fascinating masterpiece, this one is still well worth hearing.'