I doubt if it's possible to field a better cast for this beautiful opera, these days, than this one. Jonas Kaufmann stands comparison with the best of his predecessors in the title role. Anja Harteros is excellent as Elsa. Evgeny Nikitin, recently a notable Amfortas, is possibly wasted as the Herald, but certainly has an impressive presence and imposing voice. Where I take issue with this production is in its incomprehensible staging. Apparently, the entire workforce of Lufthansa has crash-landed in that place where Harrison Ford goes for refuge in "Witness". Yep, they even get to build something. Use of the chorus (more on that later) is very linear and unimaginative. In the swordfight, which looks incongruous, to put it kindly, men wear bags on their heads. Frightfully clever, of course, until you ask, "Why?" and see there is no intellectual substance to these gimmicks. All this is typical Richard Jones (director). After all, his ROH Ring Cycle looked as if it were set in Trawsfynydd power station. There is rather a lot of the supernatural in Wagner, but you wouldn't guess it from a Jones production. The other major problem here (I alluded to it just above) is the chorus. Wagner wrote superb music for the operatic choir and this, Lohengrin, is a fabulous example of his talents. The chorus in this recording has much less of an impact than it would have had in the opera house. I don't think it is the fault of the singers. The sound is recessed because of the recording engineers and possibly because of the determination of Jones to shunt the chorus constantly back-stage. The soloists and the orchestra are recorded well, so the failure to do justice to the chorus is a black mark. It's not a production so irritating that I can't watch it again and it does have some outstanding performances, so I don't regret buying this, but it's only a three-star production over all: great performance, let down by a daft, unimaginative production and poor recording (this is DECCA - what's Culshaw's ghost thinking?).