‘If the prospect of yet another ‘Organ’ Symphony leaves you yawning, then this is one you really do need to hear. From the way Fischer and his orchestra dig into the opening Allegro moderato, it's obvious this is going to be a dramatic, high-intensity performance, just as what they make of the celebrated Poco adagio … proves that it's going to be an unusually sensitive one as well. The scherzo is as manically driven as one could possible wish, while the finale unfolds in increasingly impressive splendor. As in all the great recorded performances … nothing seems forced or overdone, nor is there a hint of the trite or bombastic. The fact that it was also captured live only proves what a stunningly fine group the Utah Symphony under Fischer has become. A lively, enchantingly erotic look at the Bacchanale—featuring some fabulous playing from the orchestra's principal oboe, James Hall—rounds out one of the most desirable Saint-Saëns collections in years.’ (Fanfare, USA)

‘The current project is important: it is the first complete cycle of Tippett’s Symphonies in quarter of a century … the vibrant playing by the BBC Scottish Symphony Orchestra [in No 3] is superb. I enjoyed the gutsy performance by singer Rachel Nicholls … the present recording [of No 4] is totally satisfying … but for me the ‘prize pippin’ was the Symphony in B flat … it is good to have an approachable and rather traditional ‘English’ work from Tippett’s pen’ (MusicWeb International)» More

‘The performers here are the Portuguese choir Cupertinos under their regular music director Luís Toscano. They are a new name on Hyperion’s roster of artists and I, for one look forward to future recordings, as they invest this repertoire with a tangible Iberian flavour which results in a sound that is simultaneously airy and sun-drenched … Cardoso’s four-part Requiem is a real find. The various solo cantors from Cupertinos who commence each section seem to surf the airwaves of the Basílica's marvellous acoustic. The essence of this work seems to incorporate a softer focus, which yields expressive dividends from this particular choir. It is a rare delight to hear a group whose blend, if anything, favours the higher voices … a fine debut from this Portuguese group’ (MusicWeb International)» More

‘Tiberghien's execution and control are impeccable, and his interpretations are fluid and wholly at the service of Liszt's changeable expressions … Hyperion's sound is clear and well-balanced, with the right amount of brilliance in the loudest passages and atmosphere in the softest. Highly recommended’ (AllMusic, USA)» More

‘The Franck is played with the kind of refined elegance you’d expect from this duo. Tempo decisions are good, and they are careful not to allow movements to drizzle into each other, as less perceptive duos are apt to do; each movement retains its own definitive sense of character. The greater burdens in this work are borne by the pianist and Tiberghien proves a laudable exponent. Ibragimova makes a few expressive position changes, especially in the second movement Allegro and there is a clarity and directness to the reading … full of correspondences and inter-connections this finely recorded recital disc makes fine programming sense, no matter how many recordings of the Franck you may have and will be especially valuable for the Ysaÿe and Vierne’ (MusicWeb International)» More

‘This Liszt recital merely confirms my recent impression of Tiberghien’s credentials in this music … [in Sursum corda] Tiberghien must execute any number of pedal points on E, moving in vaulting gestures into fff declamations written over four staves to ensure their ‘symphonic,’ grandioso effect … the production team of Simon Eadon and Andrew Keener deserves special mention for this recording, faithful to Liszt’s—and Tiberghien’s—keyboard in every way’ (Audiophile Audition, USA)

‘One of the most emotionally responsive, flexible and passionate modern performances [of the Franck] I’ve heard … Ibragimova barely playing above a whisper to begin with—such a sweet, tremulous sound, growing and fading in the first [movement] … so well-paced and balanced. Even at its most exuberant the piano never quite swamps the violin, and Ibragimova’s sound holds its sweet centre … even in a crowded field this comes up fresh, and add outstanding performances of the less well-known things … it’s my Record of the Week’ (BBC Record Review)

‘Another reason to prefer this disc, in addition to the colour-conscious, energising and subtle playing of Benjamin Nabarro, Gemma Rosefield and Tim Horton’ (MusicWeb International)» More

‘A must for all collections of Rennaissance music’ (CD Hotlist, USA)» More

‘Playing under the baton of Thierry Fischer, the Utah Symphony has become one of the most impressive American orchestras on the scene in recent years … its tone both rich and balanced and its phrasing suitably Romantic without being overweeningly dramatic … highly recommended’ (CD Hotlist, USA)» More

‘Tiberghien is an expert guide. He is a sensitive and fastidious player who never forces his tone and is discreet with his use of the sustaining pedal. He can also bring out massive climaxes when required—he also plays Brahms. He shapes and moulds the sometimes bald and bleak writing, which is at times in just single notes, and takes us into the heart of the world of late Liszt. There is nothing routine about his playing. This is a most impressive recital … I cannot think of a better introduction to late Liszt. Very strongly recommended’ (MusicWeb International)» More

‘The combined vocal and instrumental contributions of Amici Voices get right inside the music. Their success is all about sustainably good judgement in knowing what really matters in communicating the essence of these exquisitely crafted cantatas. The highlight [of BWV182] is Helen Charlston’s mesmerising delivery of ‘Leget euch’ … lovingly accompanied by the flautist Ashley Solomon … in sum, this is as thoughtfully executed a Bach programme as you could possibly imagine. Most of all, it rings with truth and warms the heart’ (Gramophone)