‘This [recording], with the Orchestra of Opera North and the Huddersfield Choral Society under the impassioned baton of Martyn Brabbins, is truly excellent. It’s good to hear Elizabeth Llewellyn, one of our foremost lirico-spinto sopranos, getting an opportunity to record a major role, as Eigen … no Elgarian will want to be without this excellent issue’ (The Mail on Sunday)

‘Iestyn Davies is on immaculate form in everything here’ (BBC Record Review)

‘Best to sit back and enjoy the ride, Tippett’s ear for arresting colours [in No 4] as strong as it ever was: the writing for brass and percussion is consistently brilliant. There's an essential bonus in the shape of the early Symphony in B flat, composed in the early 1930s and at one stage Tippett's official Opus 1 before he withdrew it’ (TheArtsDesk.com)» More

‘A satisfying complement to the earlier disc, and … the first opportunity to experience Tippett’s unique symphonic voice stretching across nearly half a century, from the early B flat symphony (here receiving a premier recording)’ (CD Choice.co.uk)

‘For the dedicated Martinů admirer, it has been something of a chore to piece together (from a variety of sources) the composer’s lively and colourful violin concertos, invariably involving duplication—until, that is, the start of this excellent series, now collected here. This box is the perfect way to assemble all the pieces in modern sound; it is, what’s more, an exceptionally well played collection … it’s hard to imagine them getting better advocacy, and the recording does full justice to the attractive music of the composer’ (CD Choice.co.uk)

‘Wonderful. There are so many colours. In the Musorgsky I particularly liked that it all seems to come from choral singing … I think it's a really wonderful use of the piano’ (BBC Record Review)

‘I really found the intensity and the ensemble irresistible’ (BBC Record Review)

‘You can't overdose on Martinů: four reissued discs of concertante music for violin and orchestra might sound heavy going but I challenge anyone to get bored. There's an embarrassment of riches here, most of it seldom heard in the UK … you can't imagine this repertoire being handled with more care and affection. The late Christopher Hogwood secures exquisite playing from the Czech Philharmonic and Hyperion's engineering glows. Beautiful’ (TheArtsDesk.com)» More

‘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

‘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)