I have the Lotte Lenya/Sony recording from the 1970s on CD. The present version IMHO is an overall sonic and performance improvement over that original. The tempos are brisk, but never too fast. The orchestra is recorded close and clear, but never too close to overpower the singers. (In the Lotte recording, the tempos seemed a bit too relaxed, and the rhythm section sounded murky and formless--probably the work was recorded live in a large echo-y performance hall or studio.)
What keeps me from rating this performance 5 stars lie in the area of overall aesthetic intention. Although I hearily enjoyed this performance, I am haunted by the prospect of radically objectivist customers condemning the recording on the grounds that Brecht and Weill didn't intend to generate a "realistic" (therefore, illusionist) portrayal of these ruthless characters. It is obvious, that this performance relishes in dramatic/realistic vocalises and in some cases (especially, in the Wedding Song) seem to joyfully engage in some character editorializing, hardly adhering the prevailing practice of letting the words and the irony speak for itself. By the end of the opera, one can almost "feel" MacHeath's feigned regret and obvious rage during his trial and conviction ('Blasphemy! ' I hear the purists).
Personally, I admire the general pseudo-realism (and I am currently looking for a good English version of this fine work), but all in all, the licenses taken by Gruber, Hagen, et al. may be somewhat offensive to the average objectivist Brecht/early Weill syncophant.