The acclaim for Deborah Warner's production of Beethoven's opera Fidelio at Glyndebourne is lavish, with critics lauding its intense vocals and passionate drama.

"Moving and enthralling," enthuses Rupert Christiansen in the Telegraph. A "vibrant and powerful ensemble creation," says Hilary Finch in the Times. Richard Fairman, writing in the Financial Times, notes that the drama of prisoners seems "painfully relevant", with unspecific costumes and surroundings "enough to suggest that the events could be happening anywhere".

Praise all round for Anja Kampe's performance as Leonore. "Everything she does is charged with emotional commitment", says the Financial Times. The Times admires her vocal stamina and "passion and ardour", describing the German soprano as "indefatigable".

Mark Elder, conducting the London Philharmonic Orchestra, is declared the "hero of the evening" by the Telegraph, for a "muscularity and gravitas that never became ponderous or pompous". He "rediscovers the miraculous within the music," writes the Times. The Telegraph also admires the Glyndebourne chorus, "whose exultant fervour in the final scene brought the evening to an overwhelming conclusion".

The Times regrets the snow at the end of the performance, and the depiction of "the rough and tumble of Don Pizarro's army," but in spite of this, concludes that Glyndebourne's production of Fidelio "comes pretty near total success".