‘Here is a singer at the height of her career who has all the prerequisites to be a first class song interpreter … Julia Kleiter has a long and varied discography, including a couple of song recitals and this Liszt recital adds worthily to that list. Collectors of this Liszt series can safely add this latest issue to their collections, which more and more stands out as one of the most valuable surveys of the song repertoire. Susan Youens’s liner notes are as before utterly valuable’ (MusicWeb International)» More

‘All the performances are well up to the standard that we have come to expect from De Profundis, ably directed by Eamonn Dougan … let’s have more of Esquivel’s music and more from De Profundis and Eamonn Dougan, together or separately’ (MusicWeb International)» More

‘The neglect of the second trio is unfathomable; Litolff has fashioned a perfectly proportioned, imaginatively melodic vehicle for a virtuosic, dynamic group and the Leonore Piano Trio do not disappoint. Both these big-hearted works benefit from their brilliant individual and collective contributions, while the heart-on-sleeve joyfulness in their playing bursts out of the speakers. The Hyperion recording is warmly realistic’ (MusicWeb International)» More

‘Brabbins certainly scores in the second movement [of No 3] with his distant placement of the offstage natural trumpet—the bugle call which inspired the composer here assumes an almost dream-like heavenly quality, and the sudden eruption of the orchestra at the end comes as quite a dramatic shock … the third movement, with its almost scherzo-like suggestion of a country dance, is given a precision of rhythm which helps to highlight the sometimes wayward nature of the shadowy music; and the finale, launched with an atmospherically remote soprano solo, has a sense of expansive rapture which provides a superbly judged conclusion. In the final bars Elizabeth Watts fades into distance with a sense of magic which recalls Heather Harper (in Previn’s version), a moment of enchantment which demands that the listener take a pause for reflection and meditation … I liked these performances very much … in many ways they form a modern counterpoint to the old Boult readings, and this is all the more welcome in that we know those recordings had the approval of the composer himself’ (MusicWeb International)» More

‘Howard Shelley’s recent entry proves a formidable contender [in the Schumann concerto] … it’s hard not to be seduced by the flashy and scintillating piano writing [in Le rêve], as well as by Shelley’s effortlessly rippling virtuosity. Jeremy Nicholas’ excellent and well-researched booklet notes also deserve mention. All told, another worthy entry in Hyperion’s valuable Romantic Piano Concerto series’ (Classics Today)» More

„Diese sechs Sonaten sind ein Monument in der Klaviermusik des 20. Jahrhunderts. Und Marc-André Hamelin tut wirklich alles, um sie attraktiv werden zu lassen. Er lässt sie aufblühen und schmückt sie mit einer wirklich stupenden Virtuosität aus. Einfach atemberaubend ist, welche Fülle an Noten da zu Gehör kommt, welche dynamischen Kontraste Hamelin produzieren kann. Die verblüffende Rhetorik bleibt aber immer unter der Kontrolle von intellektueller Klarheit. Mehr noch: Hamelin kann auch die Energie mit Sensibilität verbinden, nuancenreich und raffiniert im Farbenspiel, dramatisch und lebendig“ (Pizzicato, Luxembourg)» More

‘It is difficult to imagine any living pianist other than Hamelin who could confront this music—music that is stranger than strange—with such compelling mastery, eloquence and lucidity. This is a major addition to Hamelin's unique discography … those of a nervous disposition should handle with care and take the sonatas in small doses … others will be left shaken and stirred. They will also be lost in wonder at Hamelin's truly phenomenal playing. Hyperion's sound is, as always, superb’ (International Piano)

‘This Italian's salute to his home country is inspired indeed’ (Gramophone)

‘These delightful scores could have no more persuasive advocates. The Goldner String Quartet and Piers Lane play with unrestrained emotion, bounding enthusiasm and great gusto and panache. I’m particularly impressed by their effortless negotiating of the rhythmic twists and turns that both composers employ, in an imaginative and resourceful way. You won’t detect any gear changes in the sometimes quirky rhythmic writing. How well they head up the youthful passion of the Bartók, and capture the old-world Viennese decadence of the Korngold. The Hyperion engineers have done a sterling job in achieving top notch recording quality. The superb setting of Potton Hall provides a sound-stage which wonderfully showcases these two captivating scores to full advantage’ (MusicWeb International)» More

‘Hyperion's Romantic Piano Concerto series stops off in 1850s Belgium … soloist Howard Shelley adds plenty of sparkle’ (BBC Music Magazine)

‘Once more, one can only marvel at Howard Shelley’s industry in the triple role of musical archaeologist, conductor and pianist. It is not just the fluency, power and precision of his playing that elevates both scores but the little understated moments when he pulls back to let the music breathe with exquisitely sensitive phrasing. And all this from a musician who is shortly to celebrate his 70th birthday’ (Gramophone)

‘The choir shines when singing as an ensemble, bringing out Ešenvalds's clever vocal techniques superbly’ (BBC Music Magazine)