Wow, I finally received it today. As others have said, fidelity is stunning, but this has been a constant in Loreena's recordings so far.
The mix is perhaps a bit more conservative than I was expecting, but it's a very good one nonetheless. The heights add yet another dimension to the spirituality and emotions within the music and gave me the goosebumps (oh, that moment when the second voice starts in Tango to Evora). And percussion on the rears cry for full range speakers. It's a fantastic record with an even better presentation now. I can only hope now for more reissues following the same approach (The Mask and the Mirror which is much richer in musical layers should be the next one). And yes, I must confess I have a positive bias for Loreena, as she's the only one artist that made me cry in a concert (not getting emotional, actually crying).
Anyway, before I continue digressing, I copy here a note from the book that shows how she really understands the surround format:
"Over the years, I've discovered that my audio requirements on stage are less than common, in that I do not like to have monitors on the floor facing me, but rather side-fills around the stage so that I feel like I am being immersed in the centre of the sound. Instead of the sound coming at you as an audience would experience, the listener of this kind of 'headphone' mix is literally immersed in it. Once I heard this kind of mix, I was amazed to notice how similar it was to being on stage, and I am delighted some people with the right equipment will have this experience too. Living in the sound!"
She also refers to the binaural mix as "simulacrum of surround sound". Did I say a love the lady