‘Infectious stuff … Jeremy Nicholas’s typically entertaining and well-researched notes also make the case for Pixis being given a second chance’ (Gramophone)

‘The treble voices of St John’s bring an ineffably poised gravity … quintessential Janáček from an unlikely source’ (Gramophone)

‘Five world premieres and a beautifully constructed programme … exquisite, and beautifully handled … Voce’s singers give this repertoire a strong, and very welcome, first outing’ (Gramophone)

‘What a momentous way to start 2018, with the first release in a new Michael Tippett Symphony Cycle, courtesy of Hyperion and Martyn Brabbins … commanding accounts of the first two … complemented by top-notch production values, vivid and dynamic sound, and informed annotation. All in all, unmissable’ (Classical Source)» More

‘This disc launches the first 21st-century cycle of Tippett’s symphonies, and does so in great style … this is remarkable music-making, and recorded with all the appropriate richness of colour and clarity of textural detail’ (Gramophone)

‘The torch carried for Tippett by the late Colin Davis and Richard Hickox seems to have passed to Martyn Brabbins. These readings have the intentness of conviction, which the still underrated Symphony No 1 in particular richly deserves’ (BBC Music Magazine)

‘A Chichester Psalms which is punchy and present’ (Gramophone)

‘The exquisite way she floats the high-lying refrains of Rollinat’s ‘Le jet d’eau’ is simply breathtaking … Middleton, as one might expect, is marvellously insightful … it’s all most beautifully done’ (Gramophone)

„Ein leicht schwebender früher Mozart. Das Vorhaben von Alina Ibragimova und Cédric Tiberghien, auf fünf Doppel-CDs alle Werke Wolfgang Amadeus Mozarts für ihre beiden Instrumente zu interpretieren, beschenkt den Hörer auch auf der vierten Etappe mit ein paar kleinen Wundern. Denn neben späteren Werken vinden sich frühe Stücke voller Charme, die Alina Ibragimova leicht und zart spielt—so dass sie zu funkeln beginnen“ (Luzerner Zeitung, Switzerland)

‘This is a spirited, exciting, idiomatic and by and large technically very persuasive collection of vocal and instrumental music by the near-contemporary (1649–1708) of Purcell, John Blow … both Zoë Brookshaw and Emma Walshe have sweet and airy, yet satisfyingly substantial, styles that are just right for the repertoire’ (MusicWeb International)

‘Vivacious and assured readings by Howard Shelley and the Tasmanian Symphony Orchestra. Shelley’s pianistic technique rings with glistening clarity, and the balance and placement of instruments is excellent. The recording is warm, intimate and clear, bristling with excitement and exuding a sophistication that is completely assured.’ (Limelight, Australia)

‘The singing is splendid. The baritone soloist Edmund Milly has just the cantor-like voice Fauré specified, with no boom or bluster, and the top choral parts are clear and bell-like … Hill’s instrumentally expanded version of the Cantique de Jean Racine is equally effective’ (BBC Music Magazine)» More