Damrau's singing is at its most beautiful when it is soft and inward, especially at the fountain and with the glass harmonica. She trills well. She attacks intensely in conflict with Enrico. The unwritten, traditional high Ds are full-voiced and opulent, the pre-collapse E-flats aptly focused and white. A fine actress, she holds her own with the riveting Lloyd, whose Alisa will do anything for Lucia and suffers as deeply. [...] Some will find this Lucia too bloody or too busy. For me, it goes beyond even Callas and Sutherland recordings, studio and live, in bringing Lucia to dramatic life.

– Opera News

Damrau doesn’t do fragile, and fortunately Mitchell doesn’t ask it of her. Instead we get a Lucia who is as vocally assertive as she is sexually, a rational woman momentarily maddened by shock and grief into fantasies that make for a psychologically compelling mad scene.

– The Arts Desk