‘The real thing that sold it to me is Shelley’s jeu perlé … a phenomenally difficult keyboard technique where every note that goes down on the piano sounds like a perfectly rounded, glowing pearl. It does not sound like a hammer hitting three strings, and to be able to sustain that sound quality over that fearsome passagework is truly, truly impressive … [the orchestra is] very sensual, which I like. I get the feeling that they feel loved in the playing of this music; they enjoy the sound. There’s a real warmth, especially to the string sound’ (BBC Record Review)

‘Esfahani opens his new CD of Bach’s Toccatas with almost feral energy. This is Bach with attitude, exuberance, and ecstasy. It is as if he had been waiting his whole life to play these fantastically difficult pieces’ (The Arts Fuse, USA)

‘This Norris-led interpretation [of the 'Jupiter' Symphony] is immensely satisfying; if only orchestral performances were always as perceptive as this. The tempos are ideal and Norris holds strictly to them; there are no whims or fancies. The Symphony’s structure is clearly represented, every repeat is made and one’s attention is held throughout the forty-minute performance. Clementi strongly features the piano but he is able skilfully to represent all the inner lines—a remarkable feat in the complex fugal Finale’ (Classical Source)» More

‘If you’re prepared to accept this exceedingly well-played and recorded CD for what it is, then you should wholeheartedly enjoy it … there is still far more than enough heartfelt, melodious music and attractive harmony, which is well-crafted and beautifully written, too, to keep most people happy. And if, as I was, you’re keen to get to hear more Parry, or are coming to him for the very first time, then this highly-desirable new chamber music CD could be the most ideal and enjoyable way of doing so’ (MusicWeb International)

‘This is a disc to throw oneself into again and again. Unquestionably one of the very finest Bach keyboard discs of recent decades’ (The Europadisc Review)» More

„Detailfreudig, ungewöhnlich: Angela Hewitt schaut genau auf Beethovens Dynamik-und Tempo-Angaben—und schafft in seinen Klaviersonaten spannend neue Hör-Einsichten“ (HR 2 Kultur, Germany)

‘It’s been a while since a recording devoted to Gerald Finzi’s shorter choral works has appeared, so this superb Hyperion is more than welcome … I cannot imagine performances better than these. This excellently produced release comes with texts and a comprehensive booklet note’ (Classical Source)» More

‘This varied collection of seldom-performed pieces by the Anglo-Irish composer suggests a neglected 'little masterpiece'. The most substantial work here is the cantata Fairy Day for female chorus and orchestra, but Verdun (a transcription of his own Organ Sonata), A Welcome March for Edward VII, and A Song of Agincourt are all worthwhile pieces, played with conviction by Howard Shelley’s Belfast band’ (The Sunday Times)

‘Just listen to the freedom he finds, the invention, the ornamentation, and the sound of quite an unusual instrument … there’s more than a hint of the huge Pleyel instruments Wanda Landowska used to play in the scale and dynamic range of the sound, well captured in this startlingly clear, immersive recording. But Bach comes first and Esfahani’s fearless, improvisatory approach is deeply satisfying, as is his engagement with sources and stylistic ideas that some players might shun’ (BBC Record Review)

‘The choral singing is excellent, soloists are well cast, the recording itself is a beauty, and Brabbins makes perfect sense of everything. This new Caractacus goes to the top of the heap for me’ (BBC Record Review)

‘This soundly made programme is both pleasing and intriguing: Vivaldi’s ‘Nelle mie selve natie’ leaves the voice bravely unaccompanied between ritornellos; Leo’s ‘Quel nome se ascolto’ makes muscular use of syncopation and chromatic slides; and Bononcini’s ‘Deh! lascia o core’ is truly touching. We can’t ever know what these two great singers actually sounded like, of course, but Lucy Crowe plays Cuzzoni as a bright soprano whose technical precision and agile upward-leaping ornaments combine with musicality to impress and move, while Mary Bevan offers a Bordoni with a lower centre of gravity, generally darker and more directly theatrical’ (Gramophone)

‘Along with the rest of the programme, I cannot imagine a better realisation of the arrangement [of the Jupiter Symphony] … given clear recording to complement the performances and a very informative set of notes from David Owen Norris and Mark Everist, this is a fascinating release. I shall certainly be returning to these arrangements of K467 and the Figaro Overture … it’s all very well done’ (MusicWeb International)» More