‘The well-upholstered choral sound is always focused … from Manchicourt’s ravishingly luminous Osculetur me to the mellow soundworld of Payen’s Virgo prudentissima, revelations abound’ (BBC Music Magazine)

‘The great strength of this recording is the transparency of its textures, which allows the parts to come through individually while preserving the monumentality that such a scoring obviously motivates—all the more remarkable given the size of the choir, which is large by modern standards in this repertoire (nearly 40-strong). That is due to canny direction and a bright acoustic, which together achieve a sound strongly reminiscent of Cupertinos. That will be recommendation enough to lovers of Iberian (or indeed Franco-Flemish) polyphony … the clarity and precision of these interpretations is very satisfying’ (Gramophone)

‘Cinquecento as one of the current premiere all-male vocal ensembles find much beauty and intricacy in Padovano’s ‘highly consonant’ style, reminding me that I once wrote: 'Their sound is reminiscent of The Hilliard Ensemble, particularly in the delightful interplay of their two well-matched tenors and the warmth of the overall blend captured through a close, warm recording technique'. This still holds today, as the ensemble’s skilful blend is a happy marriage to Padovano’s ars perfecta flow. They also handle transition moments well, as best heard in the opening Kyrie of Missa A la dolc’ ombra, which cadences on a shimmering top-heavy chord so that the Christe section feels inevitable … Cinquecento at their best’ (Gramophone)

‘The G6 boys—as they like to call themselves—are really making a name for themselves with these highly polished and inventive programmes, and this album is no exception … they have a knack of making you feel like you're the only one listening to their music … wonderful, intimate singing’ (The Early Music Show)

‘The meatiest and finest work here—also the best played—is the Rachmaninov, which Lane executes with transparently more freedom and pure relish. There is much to admire here, from the judicious pacing and depth of tone to the way he plays the heartbreaking Var 16 (one of the composer’s loveliest inspirations) and the exultant conclusion. For once, we get the presto final-page ending, which is surely what the work deserves’ (Gramophone)

‘Having heard the Takács Quartet live on multiple occasions … I've come to expect beauty and emotional eloquence from this ensemble. This recording delivers’ (Stereophile)

‘Of course, it almost goes without saying that technically the performance [of D887] is as precise as ever, and the account of the rather Haydnesque B flat quartet D112 that’s also on the disc is a model of good manners’ (The Guardian)

‘This undoubtedly is a very fine choir, and it is nice that it has been given the opportunity to present itself by the Hyperion label. I hope that there is more to come’ (musica Dei donum)

‘Gugnin’s touch in the Lyric Pieces, in which he has chosen to play the complete Opp 43 and 62 sets, brings out all the magic with an alluring charisma … the recital creates a reflective and reassuring elegance with his technical dexterity in these enchanting miniatures’ (Yorkshire Times)

‘The singing on this disc is as arresting as the cover illustration. Cinquecento, like a finely tuned engine, has calibrated its ensemble with flawless precision, resulting in magnificent performances and an opulent blend that consistently impresses’ (Yorkshire Times)

‘Gugnin’s velocity in the Holberg Suite’s opening Prelude is complemented by ample time for colour and inflection, while in the Andante religioso, the nodal and expressive centre of the suite, there is a glowing response to the near-Franckian chromaticism and harmonic richness. Here, in particular, there is a reminder that for the finest Russian pianists there is no division between vocal and instrumental writing. From Gugnin the ‘singing’ lines of this haunting Aria are made unforgettable … Andrey Gugnin is a true poet of the keyboard and his commitment shines through in every bar’ (International Piano)

‘It is a splendid thing to compile and record an album of late Renaissance Venetian choral music, especially since the ordinary forces of parish choirs (and even cathedral choirs) can only occasionally muster enough musical forces to mount this mostly polychoral repertoire … even more splendid, however, is to produce an album with such an interesting and varied program, sung magnificently entirely by choristers brought up from within the ranks of just one school in London … do give this latest album in the Sacred Treasures series produced by the Schola a listen—it is inspiring in every aspect’ (New Liturgical Movement)