This being the only complete recording, if you really desperately want all the bits and pieces of music that don't usually make it onto the soundtracks, you'll probably want to buy it. Aside from that, there is really only one compelling reason to buy this recording, and that is Philip Quast. Though I hate to repeat something everyone else has already said, he really is an excellent Javert -- definitely the best I've heard so far.

Most of the other singers are decent, but not outstanding -- I do think Kaho Shimada was something of a poor choice for Eponine, though. While she can sing, and I like her on the Japanese Red Cast album, her heavy accent detracts from her performance somewhat. It was a nice idea to have someone from one of the non-English-language performances on the album, but perhaps they could have found someone who spoke the language a little better.

Furthermore (and more importantly), I greatly dislike Gary Morris's Valjean, which ruins quite a bit of this recording for me. His performance just feels cheesy, and it looks even worse next to Quast's Javert. Some people do like him, so your mileage may vary here, but I really think he's the worst thing about the album (and as Valjean is more or less the protagonist and has a part in quite a few songs in both acts, it's worse than if the weak link were, say, Fantine).

So, to sum up, this recording has one outstandingly good performance, one outstandingly bad one, and quite a few decent but largely forgettable ones. I don't particularly regret buying it, but I can't recommend it with any enthusiasm. Honestly, my best advice is to get Javert's tracks off of iTunes and leave the rest.

Firstly, I'd like to know why everyone thinks the Tenth Anniversary concert is so great. The quality is terrible, the cuts are annoying, the singers are drowned out, "One Day More!" is the worst version ever because it echoes and has absolutely no clarity, and the old preformers didn't come close to their previous preformances. Granted, the new people were good, just not my favorites. If it were a "Dream Cast," it would have Patti LuPone and Anthony Warlow. The only songs I listen to from it are "On Parole" and the encores. It was fine as concert, but not as a recording.
But I digress. The Complete Symphonic Recording is a must-have, and if you can only have one recording, get this one. The orchestrations were one of very few things I liked about the Tenth Anniversary, and while the orchestrations aren't quite that quality, they're good nonetheless.

Now, on to the preformers-

Gary Morris- while he may not be the "best" Valjean, he places above Colm Wilkinson for his heart-breaking "Valjean's Confession" and "The Bargain." If you can't imagine an American Valjean, you need to know that Wilkinson is Irish and Valjean is French. Actually, Morris kind of sounds like a young Colm Wilkinson without the wierd stops.

Philip Quast- astounding. No one can top him. He doesn't do the wierd diction that he did at the Tenth Anniversary. He also gets more material this time!

Michael Ball- not much to say, but no complaints.

Tracy Shayne- clear voice and sounds half Judy Kuhn's age. A little shrill, but so was Sarah Brightman in Phantom, and that's the way the part was written, anyway. Her voice goes so well with Michael's.

Kaho Shimada- she sound like Frances Ruffelle and Lea Salonga mixed together. She has the best version of "On My Own" because of extended notes. And she gets more material.

Barry James & Gay Soper- James sounds like Alun Armstrong and Leo Burmester toether, and combines the best parts of their preformances. His only fault is "beyond ru-bleah-ies" in "The Waltz of Treachery." Gay Soper sounds shrill, but I've heard her in other works and she didn't sound the same, so blame the direction. If you just bear with it, she sounds better.

Anthony Warlow- he murders enery other Enjolras. He's fantastic at everything he does.

Debbie Bryne- my second favorite Fantine, the first being LuPone. Henshall was good, but she had some nasty notes in "I Dreamed a Dream." Debbie has some almost-called-it moments, like in "Come to Me," where she starts to belt the last note, but softens out. In a word, she's easy on the ears.

The company is great as well, and most numbers are more emotional than other recordings.
The main benefit of this recording is that it's the complete show on CD, and the only one that includes the full Wedding Chorale and "Valjean's Confession," along with "The Robbery" and a ton of other sequences.
I whole-heartedly recommend this CD to any Les Miz fan. My review may be a bit biased because this was the first recording I got, but somehow, I get the feeling that it's truer than the reviews bashing it.

Right now, there are four official English-language versions of Les Miserables: the Original London Cast Recording, the Original Broadway Cast Recording, the Complete Symphonic Recording, and the 10th Anniversary Concert Recording. Les Mis' addicts are best served by purchasing all recordings, as they showcase different stages (as in the OLC and the OBC) of the development of this mega-musical, as well as the interesting variations in presentation and performances by the different casts and orchestras.

If you're the average musical-theater listener who can't afford to buy all available English-language recordings, however, my advice would be to get the CSR (due to the fact that it's "complete") and the TAC recording (due to the fact that performer- and performance-wise, it's leaps and bounds better than all of the other recordings). You deserve no less.

I can't believe all the negative comments about Gary Morris. He is so much better in the role than Colm Wilkinson. I've seen Gary perform the part three times and there is NO better Jean ValJean (seen the play 14 times). It's an international cast and some of the accents do take time getting used to. But the power of the music supercedes it all. Listen with your heart people. It's so incredible.

"Les Miserables" is a marvelous musical; a stunningly faithful interpretation of Victor Hugo's masterpiece, with an inspiring storyline and unforgettable characters. There are 2 reasons for buying a Les Mis CD - (1) you've seen a performance and want ONE CD to remind you of it or (2) you've become a les Mis junkie (like me) and want multiple versions so you too can hold forth on the rival merits of Andy Warlow vs Michael Maguire, Patty LuPone vs Ruthie Henshaw, Frances Ruffelle vs Kaho Shimada vs Lea Solonga. If you are in the first category, you really want the Tenth Anniversary Concert. The TAC has the complete storyline (albeit slightly abridged), it was recorded live (so there's an unique intensity and chemistry between performers), and from top to bottom it has by far the best cast.

However, if you're a serious Les Mis fan, you should buy this CD (in addition), simply because it does have the complete score. (The trouble with THAT is that it includes practically the only misstep in the whole script - if Jean Valjean has his number branded on his chest, then how is it credible that someone else will be convicted in his place?) I bought it for that reason and to hear other interpretations of the roles (in particular Andy Warlow's). I have all 4 versions, and they have all have their pluses and minuses, but frankly, I'm glad I didn't pay full price for this one. This version has a rather weak cast in general, but that does add to the fun arguing about it. On the plus side, it has Philip Quast ( THE BEST Javert, but he's even better on the TAC), Michael Ball (THE BEST Marius, also on the OLC and TAC versions), and Andy Warlow (a stirring Enjorlas for sure, but not THAT much better than Michael Maguire on the OBC and TAC). The scenes at the barricade are the best part of the CD. Kaho Shimada is an uneven Eponine, OK sometimes, less so at others. Debbie Byrne (Fantine) is OK, but I don't find her as moving as Patty LuPone (OLC) or Ruthie Henshaw (TAC). Tracy Shayne (Cosette) is irratating, not nearly as sweet as Judy Kuhn (OLB and TAC) or even Rebecca Caine (OLC). I find Barry James and especially Gay Soper (M. and Mme. Thenardier) grating as well.

I really miss Colm Wilkinson (OLC, OBC and TAC). OK, he has a unique singing style, but such heart. Not always perfect, but so powerful and emotional. All his solos and "Confrontation" just stop me dead in my tracks. The sweetness and purity of his "Bring Him Home" and "Epilogue" move me to tears. But really, there must be someone else who can do at least an adequate job or the show wouldn't have run so long in so many venues. I am willing to listen to another interpretation, but not this one. This is the central role in the play, it really can't survive without a good performance here. Gary Morris is horrible as Jean Valjean, cringe-provoking at times, merely weak at others. He's totally overmatched by Quast in "Confrontation" and by everyone in "One Day More" and "Epilogue". I haven't tried the recommendation of one reviewer of listening while squinting and shaking my head hard, but I don't see how that will help. Morris's "What have I done?", "Bring Him Home" and "Valjean's Confession" make me cover my ears or send me running for the fast forward button, although "Who am I?" isn't so bad. (I just tried the head shaking trick, it didn't help.)