‘In both the Chopin G minor sonata and in the C major Introduction et polonaise brillante, he’s a very mellow fellow, playing with a great big smile on his chops, as if he’s tweeting a particularly happy dream. The ease of engagement is infectious. There’s a lovely romantic nocturne by the obscure 'Franchomme' and an irresistible reading of Schubert’s sonata. If the Chopin lacks Polish melancholy, I don’t miss it a bit. These are two fine musicians at the peak of their powers playing for pleasure, theirs and ours, all stress banished for an hour’ (Ludwig Van, Canada)

‘Howard Shelley’s exceptional ability to make the byways of the concerto repertoire sound like bona fide masterpieces reaches new heights in this follow-up to his previous volume of piano concertos by Czech composer Jan Ladislav Dussek … providing the icing on the musical cake is the Ulster Orchestra, which responds with alacrity to Shelley’s skilful direction’ (BBC Music Magazine)» More

‘Handel's motets present a winning showcase for a soprano such as Davidson, blessed with the ability to soar, to warm a note with artfully calculated vibrato, to phrase with impeccable taste, and possessed of a technical security that allows Silete venti's formidable 'Alleluia' to pass in a dazzling flash of lightly-worn pyrotechnics’ (BBC Music Magazine)

‘This, incredibly, is the 100th CD of Liszt’s music for solo piano recorded by the indefatigable Leslie Howard for Hyperion … a superbly played (and researched) addition to this extraordinary artist’s legacy’ (Gramophone)

'Notevole è l’interpretazione del The Orlando Consort, ensemble britannico composto da quattro voci maschili: il controtenore Matthew Venner, i tenori Mark Dobell e Angus Smith e il baritono Donald Greig. Specialiste del repertorio medievale al quale hanno dedicato decine di registrazioni di grande livello, le limpide voci del quartetto si uniscono in un equilibrato impasto sonoro che ripropone in maniera assolutamente convincente un repertorio di grande fascino, con un’interpretazione all’altezza della grande arte di Guillaume de Machaut' (MedioEvo, Italy)» More

‘As this recital progresses one is struck yet again with the sheer consistency of Machaut’s art. Despite recognisable phrases recurring from work to work, each piece has something to say. The Orlandos hit their stride in this series some time ago, and collectively they gel wonderfully’ (Gramophone)

‘Celestial bird sets a mystical poem by Carmelite nun Jessica Powers with sumptuous harmonies that soar and sting, aptly showcasing Ex Cathedra's magnificent purity of sound … Child of Heaven … is elegantly shaped and full of warmth, rather like this disc as a whole’ (BBC Music Magazine)

‘[Chineke! Orchestra] are certainly on their way to showing that they can be considered on a par with any non-Black and Minority Ethnic (BME) orchestra. Since their previous recording … they have clearly improved greatly on their ensemble playing and overall presence. And they still radiate dedication and energy’ (Gramophone)

‘The glory of the album lies in its demonstration of Hough's gifts as arranger, transcriber and composer. I would go a long way just to hear him play his two-minute arrangement of Blow the wind southerly, with its shimmering layers of colour and a deceptive simplicity. This is pianism of the highest order’ (Pianist)

‘Denoth brings lyricism and fire to his performances of this master of the tango … Piazzolla once stated 'For me, tango was always for the ear rather than the feet.' This excellent album is firm confirmation of the power of this arresting form’ (BBC Music Magazine)

‘Nolan's performance [of the Bach Chaconne] has grandeur and bite … the British-Australian organist certainly makes a case for [the Sonata] being Mendelssohn's greatest organ work … ultimately [in the Reubke Sonata] Nolan romps home with virtuosity’ (BBC Music Magazine)

‘[Brabbins's] is a painstakingly prepared and intelligently paced conception, combining a perceptive awareness of the grander scheme (climaxes are built and resolved with unerring authority), exemplary attention to detail and mastery of texture (I don’t think I’ve ever heard the dusky outer portions of the slow movement sound more magically luminous). Throughout, the BBC Symphony Chorus and Orchestra respond with thrilling accomplishment and unflagging enthusiasm, the Scherzo (precisely 'Allegro brillante' as marked) especially exhilarating in its fiery thrust and giddy coordination … resplendently engineered by Simon Eadon at Blackheath Concert Halls, this is, quite simply, a release not be missed—and fingers crossed for the remaining seven RVW symphonies from Brabbins and Hyperion’ (Gramophone)