‘[Reinecke] As before, Callaghan’s playing lacks nothing in conviction and panache, and he grabs the ears from the very first bars … [Sauer] Is the result structurally convincing? Not entirely. Does it entertain? Absolutely, especially when Callaghan and the orchestra join forces with such obvious enjoyment and glee. All in all, followers of Hyperion’s series should listen without hesitation’ (BBC Music Magazine)» More

‘Ever since Aigul Akhmetshina made a white-hot guest-appearance in the final scene from Carmen on Freddie De Tommaso’s Il Tenore, I’ve been hoping for a full-length operatic recital from the charismatic young Bashkir mezzo—and Decca delivers the goods today with her self-titled debut album, featuring vivid snapshots of some of the roles which have featured prominently in her career to date … it’s already evident from the little flourishes in the Seguidilla that this is a voice which moves freely, and arias from Rossini’s Il barbiere di Siviglia and La Cenerentola showcase her agility and range in all its glory’ (Presto Classical)

‘This, her first recital recording, is all about voice, voice, voice. Some operatic voices do not respond well to the recording process, but Akhmetshina sounds as gloriously full-voiced from high to low as she does in the opera house … in Italian opera, she offers a deeply felt Romeo in Bellini’s I Capuleti e I Montecchi and shows how impressively her large voice can scamper through the coloratura in two Rossini operas, La Cenerentola and Il barbiere di Siviglia. The Royal Philharmonic Orchestra and conductor Daniele Rustioni … offer top-quality support’ (Financial Times)

‘If the listener doesn't go weak at the knees at the warmly immaculate opening chords of The Gesualdo Six's latest album then a hospital visit is recommended … intricate compositional skill, moments of the tenderest beauty and the thrilling sounds emanating from three, four, six or seven singers thinking, breathing and feeling as one’ (The Times)

‘This 87th volume in the Romantic Piano Concerto series has been produced to Hyperion’s usual immaculate and imaginative level, with great pianism, splendid orchestral playing and interesting, if not wholly successful representatives of the genre. The documentation in the booklet is detailed, in English, French and German, and is well up to Hyperion’s usual exalted standard’ (MusicWeb International)

‘Callaghan's sparkling, articulate runs in Sauer's scherzo repeatedly catch the breath. His playing throughout is masterful. The St. Gallen orchestra plays stylishly’ (Stereophile)

‘Mille regretz—a thousand regrets to leave you and to be far from your loving face—attributed to Josquin des Prez in the mid-sixteenth century, flourishing in print. So heartachingly lovely and timeless … it's one of The Gesualdo Six's favourites, they tell us, and, sung with this kind of heart-stopping beauty, mine too’ (BBC Record Review)

‘Pianist Mishka Rushdie Momen is on a pilgrimage to restore a fuller picture of English Renaissance music after the 'cultural vandalism' of the English Reformation. Well-rounded musical portraits, rich pieces, beauty, charm, wit—and some delightful ornamentation’ (BBC Record Review)

„Allein schon für ihre Auswahl gebührt Mishka Rushdie Momen ein britischer Orden. Doch auch Momens „sprechendes“ Spiel erweist sich als treffsicher und ideal für die besonderen Wesenzüge dieser durchweg kunstvoll „gebauten“, aber dank ihrer Noblesse, Anmut und Innigkeit stets das Herz ansprechenden Stücke“ (Rondo, Germany)» More

‘I begin with a confession, that had I not been working at Presto I may have overlooked Mishka Rushdie Momen’s Hyperion debut, with so much music vying for my attention and a continuing stream of new recordings. It would have been my loss to miss this album of captivating music, musicianship and pianism … there is much to explore and enjoy here, in an album which rewards repeated listening and which leaves me in anticipation of what we hear next from this exciting new addition to Hyperion’s armoury of superb pianists’ (Presto Classical)» More

‘Rushdie Momen is virtuosic in the dense variations of Bull’s Walsingham, introspective in Gibbons’s darkly beautiful Lord Salisbury Pavan, and always weaving the music through with fine-spun threads of trills and embellishments, lightly worn. It’s beautifully done’ (The Guardian)

‘Gibbons’s Alman in G, The King’s Jewel is infused with requisite nobility while the artist’s well-paced interpretation of Byrd’s The Bells bursts into rapid-fire figuration pealing with joy in this early summer pleaser a welcome addition to the baroque keyboard music discography’ (Winnipeg Free Press, Canada)» More