‘Fox’s singing is consistently lovely, with the familiar silvery gleam in her upper registers much in evidence … Forés Veses and the Castile and León orchestra are excellent here, meanwhile, with some immaculately shaped playing, the strings lean yet beautiful, the woodwind gracious and elegant … it’s a fine album, thoughtful and enjoyable in equal measure’ (Gramophone)

‘Eleanora Burratto is treasurable as Marina, her bright soprano thrilling at the top. As Giorgio, Freddie De Tommaso proves a verismo hero. The Orchestra i Pomeriggi Musicali is supple and secure under the idiomatic baton of Vincenzo Milletarì’ (The Guardian)» More

‘Recorded in Tokyo before an utterly quiet, spellbound audience, the performances display the virtues expected fromo such a sensitive and gracious musician … utterly appropriate and exactly what Beethoven desired … impossible to ignore’ (The Times)

‘Who doesn't need some summer fun? Particular pleasures? I'd highlight the three pieces by Cécile Chaminade, who started composing in childhood in the 1860s for her pets and dolls and remained at her best in charming short pieces that only need affection and flexible fingers for their magic to live again. It does so here’ (The Times)

‘Uchida's Beethoven remains unassumingly wonderful … from Beethoven, through Uchida, to us’ (The Guardian)

‘The recording is everything one could hope for … stupendous playing … Uchida’s traversal strikes me as very special indeed’ (MusicWeb International)» More

‘Distinguished by a thoughtful blend of excellent music, poetry and classic folk elements, not to mention top-drawer singing, you will want to linger in this musical garden’ (Limelight, Australia)

„Wie zukunftsweisend der Streichquartettkomponist Haydn war, unterstreicht das London Haydn Quartet nicht zuletzt in den abgründigen langsamen Sätzen, von denen sich sein großer Bewunderer Beethoven unüberhörbar zu seinen eigenen Geniestreichen inspirieren ließ“ (Rondo, Germany)» More

‘This is Bach of rhetorical vigour and collaborative imagination, the harpsichord set within the ensemble as an equal voice rather than pitted against it … it really is a crowded field, but Esfahani and the Britten Sinfonia have something genuinely new to say about the music. Purists may bristle. But, adapting a remark from Rupert Darwall, Esfahani writes that in this context, modern instruments seem less to age the harpsichord than to set it free’ (Limelight, Australia)

'Mahan Esfahani is geen gewone klavecinist. Hij verkoopt Carnegie Hall in een vingerknip uit, is een prijsbeest zowel in barok als hedendaags repertoire, liet meer dan 20 nieuwe werken componeren voor klavecimbel en schrijft tussendoor columns voor The New Yorker … een genie van het zuiverste water' (De Standaard, Belgium)

„Auch solche musikalischen Grüße aus dem hohen Norden wecken in einem sofort die schönsten Sehnsüchte nach der Ferne“ (Rondo, Germany)» More

«L’Anglais Stephen Hough est un pianiste peu ordinaire. Non content d’être un grand virtuose, il est aussi penseur, écrivain, chroniqueur, poète, enseignant et compositeur. Évidemment, les programmes de miniatures pianistiques se succèdent ces dernières années, mais celui-ci, très personnel et attachant, déborde de fantaisie … Hough dose à merveille chefs-d’œuvre (Prélude op. 32 n° 12 de Rachmaninov, Andaluza de Granados, Oiseau prophète de Schumann) et airs d’évasion et d’agrément (extraits de Frozen ou de Mulan)» (Le Devoir)