Finley made a splendid impression over the airwaves; of course being able to hear from the rear is no problem under those circumstances, but he really didn't have that too-familiar "baritone blustering his way through because he's in trouble" sound, it all seemed easy for him and full of sonority and variety. I agree about the Eva (surely, even if youth and physical suitability mattered to them, there were more solid choices in their casting pool?), but for me the Walter was the biggest vocal demerit. He has to do a lot of within-the-story "singing" to the others, and at all such moments he seemed just threadbare and weak. I can see why they cast him -- he looked right and is a terrific actor (his scene with Sachs was almost unbearably moving for me), and his voice sounds pleasant in the delicate bits. I can imagine him impressing in an audition so that they decided to take the risk, but (unlike Finley) this risk didn't pay off.

I agree that the permanent set was least suitable in Act II, but on the whole I loved the designs and the direction. The choreography needs a rethink: I know frolicking apprentices must be a nightmare to make plausible onstage, but the effect was more like music-hall routines. And it was odd that the camera wanted to give us closeups of the Masters reading Walther's song text attentively and passing it around for approval, where it's a basic plot point that Walther is recomposing the Prize Song as he goes, with new music and words (Wagner specifies that the page should get dropped and ignored immediately).

But that's nitpicking. It was an exceptional production. I do love Glyndebourne!