This imaginative staging of Berlioz's dramatic symphony for chorus, soloists and orchestra relies heavily on the moving of massed choirs across a large stage. It has vivid lighting effects–rather too many of them using strobes–and monolithic multi-purpose sets, in particular a revolving glass drum which functions both as cinema screen and rostrum for singers, so that the final ride to Hell, for example, is sung by Mephistopheles and Faust above a cavalcade of projected horses, like the inside of a zoetrope. The three main soloists have voices on a scale that can compete with these flashy production values–White and Kasarova, in particular, sing at a level of intensity that would swamp anything less; the climactic seduction trio has rarely been sung so well or with such an overpoweringly polymorphous eroticism. Cambreling marshals his forces effectively, giving full rein to the work's showstoppers like the "Hungarian March" but not neglecting the subtler less kinetic Gluckian side of Berlioz's vocal writing. (Roz Kaveney)
This set is self-recommending. The names of Charles Munch and Hector Berlioz evoke the same respect and admiration as Bernstein/Mahler, Beecham/Delius, or Kempe/Strauss, and with good reason. For many years virtually any of these performances could be listed as a prime recommendation, even in a sometimes very crowded field, and the only point worth mentioning in connection with the latest reissue is the fact that RCA finally has gotten it right and included all of Munch's Boston Berlioz recordings. This means that, unlike the previous box, this one includes the stereo Roméo et Juliette (plus the first, mono one) as well as the second (and finer) Symphonie fantastique from 1962.
–David Hurwitz, ClassicsToday.com