Em...I want to revive this topic...yes, after 2 years
It's also something I've been curious about since a friend told me that she judges a Fantine on the line "But there are dreams that cannot be".
So here are some parts I consider as important assessment criteria
Prologue: "I know she'll wait, I know that she'll be true". I'll give the performer an A+ if he really sounds like an Edmond Dantes thinking about Mercedes!
Valjean: "On this page, I write my last confession. Read it well, when I at last am sleeping. It's a story of those who always loved you. Your mother gave her life for you then gave you to my keeping." I want him to sound weary but caring, relieved and content; the contrast should be explicit. If done incredibly well these lines can make me cry.
Fantine: "For God's sake, please stay till I am sleeping. And tell Cosette I love her and I'll see her when I wake." I really want a miserable Fantine, but somehow I can't find a Fantine who sounds genuinely miserable in IDAD; most of Fantines I've listened to appear to be more angry than miserable in that song. Thus I value her last words even more than IDAD. She has the opportunity to be as miserable as she can. So if the actress still fails to be miserable, I won't like her.
Enjolras: "They will come when we call" and "until the Earth is free". Don't crack and don't lower the key (I'm looking at you Warlow. This is the only thing that he, as my favorite actor so far, disappoints me)
Well...it seems that I love judging people on their dying moments