'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

‘This is a distinguished performance … a most enjoyable CD which augurs well if, as I believe, it’s to be the first in a series. The recorded sound is good and Roger Nichols’ note is valuable. Encore, s’il vous plait’ (MusicWeb International)» More

‘Under Thierry Fischer, the Utah Symphony continues to roar back onto the recording scene … the rarely-heard Trois tableaux symphoniques d’apres La Foi that leads off the first volume of the cycle is a find—beautifully and often sparingly scored, setting scenes in a gracious, melodic Romantic manner with passages of mystery and atmosphere and a suitably grandiose conclusion’ (Classical Voice North America)

‘Natalie Clein and Christian Ihle Hadland lend this darkly passionate, tautly argued music blisteringly eloquent treatment, and they prove to be just as convincing advocates for Frank Bridge's magnificent wartime Cello Sonata … don't miss this one!’ (Classical Ear)» More

‘This is glorious music that unfolds with commitment … a commendable selection sung with considerable accomplishment’ (Classical Source)» More

‘Natalie Clein proves a dramatic, wholehearted interpreter of the cello version of Rebecca Clarke’s Viola Sonata … the sonata positively sizzles in this performance … if you’re looking for high-octane performances of this repertoire, then make the Clein-Hadland duo your first port of call’ (MusicWeb International)» More

‘The material is always gripping and memorable: there is nothing dull about these works. And, though they must be demanding to play, they are real quartet music, in that you could not imagine them scored in any other way … these are all impressive and rewarding works. They are played with superb confidence and panache by the Royal String Quartet’ (MusicWeb International)» More