As in all of Gardiner's recordings, the choral singing is impeccable in its discipline, its vitality and its articulation. In The Fairy Queen the chorus often echos the soloists in their arias, among them the beautiful "If love's a sweet passion" (Act 3) and "Now the night is chac'd away" (Act 4). The accompaniment is always shapely and often evocative. The orchestra, of course, is at its best in the Overture and Symphony that open Act 4 though the dances—particularly the "Dance for the green men" and the stirring hornpipe at the end of Act 3—are buoyant and precise; there is some fine solo playing from the trumpet and first violin, not forgetting the recorders and timpani.

Purcell has ensured that there are many solo vocal high points. David Thomas's character roles—the Drunken Poet (Act 1) and Coridon in the pastoral dialogue (Act 3) are carefully judged. Judith Nelson's "No, nothing" (Act 2) and "Ye gentle spirits" and Wynford Evans's "A thousand thousand ways" (Act 3) are exquisite in tone and detail, though elsewhere possibly Evans is sometimes rather precious. Timothy Penrose and Ashley Stafford shine in the canonic duo, "Let the fifes and the clarions" (Act 4). The seasonal contributions of Jennifer Smith, the tasteful Martyn Hill and the warm-toned Stephen Varcoe to Act 4 have delights to offer as does Eiddwen Harrhy's lovely soprano even when coupled with the much paler one of Jennifer Smith.

-- Julie Anne Sadie, Gramophone [8/1987]