‘The Takács Quartet has been around for 40 years, a remarkable length of time for any ensemble … they are joined by Canadian pianist Marc-André Hamelin in a superb performance of the Shostakovich Piano Quintet’ (Musical Toronto, Canada)» More

‘Every familiar Tallis Scholars trademark is here, of course—immaculate balance and clarity, perfect pacing and much else besides’ (Early Music Today)» More

‘Isserlis’s touch is largely light and his sound warm, allowing him to bring out metric and rhythmic play without it sounding overly mannered. His exploration of the softer end of the dynamic scale frequently suggests a sense of vulnerability, penetrating to the heart of the more introspective movements’ (Sinfini Music)» More

‘Ibragimova’s playing, from the very first entry, is surprisingly sweet-toned; even in the relatively boisterous first movement the instrument constantly sings, and she’s not afraid to let the sustained notes ring out a little’ (Presto Classical)» More

‘I’ve been impressed by the very high standards of singing and musicianship shown by the Choir of Royal Holloway every time I’ve heard them and this latest disc maintains their very high standards. Clearly Rupert Gough trains this student choir exceptionally well. Their singing has been captured in an excellent recording by one of Hyperion’s best teams’ (MusicWeb International)» More

‘These are wonderful performances … sublime cello and harpsichord’ (The Otago Daily Times, New Zealand)» More

‘Osborne takes a wonderfully clear-sighted, analytical approach which gives the seven late works, as well as the early, often playful variations, great radiance and lyricism’ (The Guardian)» More

‘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