‘Here is a delightful disc made to an interesting recipe: Lamentation texts in alternation with joyful settings of Regina caeli sung with passion and puppyish intensity by a large and charismatic chamber choir directed by the éminence grise of Ars Perfecta, Peter Phillips. The result has the air of joyful adventure about it; proudly choral (as opposed to consort) but with absolutely captivating clarity’ (Gramophone)

‘Tiberghien is once again consummately subtle, and he misses no opportunity for virtuoso display where the opportunity arises—as in the Bagatelle sans tonalité … and the fourth Mephisto Waltz. Generously filled and beautifully recorded, this disc offers a fine entry point for anyone either dipping into late Liszt for the first time or giving it another try’ (Gramophone)

‘As in all the earlier releases the booklet contains a very informative essay and complete texts and translations based on the new complete edition … the new recording of the Lay de Confort is particularly welcome’ (American Record Guide)

‘You’ll be purring with satisfaction at this exemplary new release from the Leonore Piano Trio. Enthusiasm isn’t always enough to prevent recordings of unfamiliar music from sounding raw but these performances feel fully matured—fresh, intelligent and strikingly stylish; edgy when they need to be and opening out generously when Parry’s romantic impulse demands it’ (Gramophone)

‘An immensely satisfying performance not just of this movement but of the entire [Shostakovich] sonata … [the Rondo in memory of Prokofiev] makes for a poignantly contemplative close to an exceptionally thoughtful selection of works’ (Presto Classical)» More

‘Isserlis and Mustonen make a strong case for [the Kabalevsky Sonata] in a performance of grand gestures that proves a real roller coaster ride. Isserlis’s intensity and Mustonen’s pianistic weight suit the piece wonderfully well, and the tolling opening chords sound at once solemn and threatening as Isserlis traces the sorrowing first subject over them. The first climax has an almost shocking ferocity that seems to haunt the meandering scherzo-cum-waltz that eventually follows, and the finale is both hair-raising in its manic energy and thrilling as a display of technical prowess … Isserlis and Mustonen play [the Rondo in memory of Prokofiev] with the combination of lyricism and drama that characterises the rest of the disc. Very fine’ (Gramophone)

'Grazie a un’emissione particolarmente curata delle otto voci maschili (tre contralti, quattro tenori, un basso) la fusione sonora ottenuta è ottimale, garantendo fluidità e un amalgama equilibrato tra le parti. Una registrazione di grande pregio, affidata a uno dei migliori gruppi specialisti del repertorio medievale che la discografia possa oggi offrire' (MedioEvo, Italy)» More

‘Mr Esfahani is an all-too-rare presence in the harpsichord world. First, he is erudite and indefatigable in his study of the context surrounding the music he plays. (His far-reaching liner notes excite me as much as his performance.) Second, he has amazing technique, amply illustrated by many tracks on this recording, including the notoriously fiendish Barafostus Dreame of Tomkins. And finally, he never allows the often doctrinaire world of historically-informed performance to interfere with his musical instincts and his search for a truly expressive solution to every phrase he plays … each performance is as close to perfection as I can imagine’ (American Record Guide)» More

‘Lovers of Renaissance polyphony will find that this programme is full of magnificent music from start to finish. The singing of El Léon de Oro is consistently accomplished and full of conviction. I haven’t encountered them before but I’m seriously impressed by what I’ve heard and I hope that Hyperion will record them again. Of course, they could scarcely have more authoritative direction in repertoire such as this than from Peter Phillips … this is a very rewarding disc and I look forward to hearing more from El Léon de Oro before too long’ (MusicWeb International)» More

‘A sublime survey of sacred music of the high Renaissance … the 33-voice Spanish choir El León de Oro presents luminous interpretations of these sometimes melancholy but often ethereal pieces, and the direction of early music specialist Phillips, who also leads the famed Tallis Scholars, is as impeccable as ever, with an ear to finding the clearest textures in even the richest part writing’ (AllMusic, USA)» More

‘Tiberghien never flaunts his total command of those challenges and with an exemplary range of touch and keyboard colour, concentrates instead on these pieces purely as musical statements … Tiberghien presents all of them as perfectly conceived miniatures that often pose more questions than they answer’ (The Guardian)» More

‘You can almost bank on a new album of Camille Saint-Saëns’ orchestral music including either the Organ Symphony (No 3) or the 'Bacchanale' from Samson et Dalila. The Utah Symphony’s new Saint-Saëns disc, the first installment of a projected three-part survey of the composer’s neglected larger symphonic output (for Hyperion), actually includes both of them. That turns out to be a good thing. First, because each of those pieces come off with rousing intensity and lots of color. Second, because the rest of the recording is devoted to a terrific performance of the (very) obscure (and substantial) Trois tableaux symphoniques d’après La foi … you’ll be hard-pressed to find it played with greater authority or technical refinement than the Utahans deliver (even as the present recording seems to be the only one in the catalogue of the Trois tableaux symphoniques: suffice it to say, it sets the bar high). As for the rest, well, the Utahans play the 'Bacchanale' exuberantly: the final refrain is about as slinky and bombastic as you might want. And their performance of the Symphony is no slouch, either … can’t wait for the next installments to come along’ (The Arts Fuse, USA)» More