‘Whatever the recording’s historical merits, Isserlis moves even further into an introspective exploration of his beautiful, voice-like tone, making the cantabile slow movements a particular delight’ (The Washington Post)» More

'Ian Page conducts Classical Opera in a buoyant performance' (Financial Times)» More

‘There is no period choral group that has consistently produced as many important and enlightening discs—they still lead the pack’ (Audiophile Audition, USA)» More

‘It was Benucci’s rare achievement to bring to his comic roles a vocal finesse comparable with the day’s leading prima donnas. Taking up Benucci’s mantle, Matthew Rose … likewise has a gift for conveying character without compromising vocal quality … [he is] accompanied with style, spirit and a sense of conniving enjoyment … by Jonathan Cohen’s superb period band’ (Gramophone)

‘Matthew Rose gives us generous chunks of the Mozart-Da Ponte operas mingled with arias by Salieri, Sarti and Martin y Soler, which all sound strong, thanks partly to the energised playing of Arcangelo, under Jonathan Cohen’s nuanced direction. Rose is hugely impressive, his deep, robust bass-baritone flexible and expressive’ (The Guardian)» More

‘With Steven Isserlis and Richard Egarr’s programme we are provided with a rich feast of excellent music, played with finesse and character and in a partnership of supreme balance in every way’ (MusicWeb International)» More

‘It makes a refreshing change to hear an anthology of choral compositions untroubled by worldly cares, especially so when performed with such conviction and love’ (Sinfini Music)» More

‘Royal Holloway’s ‘Calm on the Listening Ear of Night’ sets Paulus’s music in dialogue with another Midwestern composer, René Clausen. It’s Clausen whose musical personality emerges most strongly here in these precise performances’ (Gramophone)

‘[The Takács Quartet] expertly negotiate the music’s paradoxical demands. On the one hand, there’s the illusion of wild, rasping abandon, a willingness to embrace the rough-grained sound world without inhibition. On the other, not a note seems to be out of place. The musicians handle the harsh gear-shifts with flawless rhythmic control’ (Gramophone)

'The whole thing … sounds poised and elegant under Ian Page’s tasteful and slightly anonymous direction, with a neatly expressive orchestra and a strong cast' (The Guardian)» More

‘Set down in the admirable acoustic of Cologne's Philharmonie, this new version of Schoenberg's titanic 'Gurre-Lieder' certainly earns its spurs. Not only does Markus Stenz secure a marvellously eloquent and superbly coordinated response from his massed choral and orchestral forces, his supple, authoritative conception harnesses impressive long-term rigour to a keen poetic and dramatic instinct’ (Classical Ear)» More

‘Osborne immediately presents himself as a Schubertian of the utmost seriousness and integrity, and throughout the disc—beautifully recorded at the Wyastone Estate’s Concert Hall—offers finely gauged and beautifully regulated playing’ (Gramophone)