'The choir's glory remains its boy trebles, whose gleaming descants, vibrato-free production and tonal freshness are invariably the icing on the cake in these typically polished, debonair performances' (BBC Music Magazine)

«L'interprétation de Shelley, chef et pianiste à la fois … bénéficie de sa maîtrise du grand style international de l'épique romantique et nous convainc pleinement de la valeur de ces œuvres» (Classica, France)» More

‘Gough has an exceptional group of singers here. They are impressively responsive, shifting from the rich homophony of Howells’s A Hymn for St Cecilia (anchored always in the bass), to the fidgety contrapuntal writing of Britten’s ‘I have no shadow’ episode and embracing the bluesy harmonies of Richard Rodney Bennett’s Verses on St Cecilia’s Day’ (Gramophone)

'The sound image is compelling on its own terms, with the homogeneity typical of ensembles with countertenors on the top lines. But it’s a flexible interpretation nonetheless, for Gallicantus have grasped that which not all their predecessors have … details are tellingly lingered over, repetitions properly emphasised and the score’s illumination of an inner drama sensitively rendered. The odd glitch of intonation (very rare, in truth) is a negligible price to pay for such an involving experience' (Gramophone)

'Gallicantus sing this cycle of sacred madrigals and its climactic motet with all the gravity and respect it requires as the major milestone in the development of art music that it was. Live, on a rainy Sunday afternoon at th e Wigmore Hal, it was one of the most profound musical experiences of my year; on disc it comes almost that close'' (Gramophone)

«L'impressionnant travail effectué par Andrew Manze en tant que violoniste «baroque» a-t-il marqué son approche de Saint-Saëns, dont il donne une image vive et allégée, sans empâtement, plus chambriste que symphonique» (Classica, France)» More

‘In many senses the 1838 Novelettes are quintessential Schumann, with their imaginative harmonies, fascinatingly inventive textures, wide-ranging moods and ravishing lyricism. If their intrinsic interest weren’t sufficient, they contain, in terms of piano playing, a veritable lexicon of every gesture Brahms confided to the keyboard avant la lettre’ (International Record Review)» More

‘Fanny Ardant is not only a film star but has experience of the French classical theatre, home of good declamation. She is, throughout, classical but also personal. The risk lies in loss of the formal convention of emotional distance intrinsic to the work, but the manner suits Mme Ardant and it matches Sir John Eliot Gardiner’s approach. Without distorting the form, he allows his singers more expressive freedom than is usual. Stuart Skelton, even if perhaps more emotional than Stravinsky might have liked, brings increasing tension into his interpretation … this is a beautiful performance' (Gramophone)

‘Overall, Landowska’s playing is a seemingly endless source of enlightenment. Mark Obert-Thorn’s transfers are excellent, and these records should be heard by music college students in particular, to make them aware of other possibilities, of richer times and places’ (Gramophone)

‘These are vintage Schumann, radiating as they do that typical mix of beguiling poetic inspiration, vital virtuosity and lyrical allure … there is an unbroken thread of thought running through Driver's interpretation, with the fluxes of harmony and the nuances of dynamics artlessly etched in and a natural flow and impetus to the music from its very start to its hushed finish. The poise, focus and imagination that Driver brings to the Novelletten are equally applied to the four Nachtstücke, the crepuscular atmosphere of the first one being set against the shifting lights and images of the other three. This is playing of a most perceptive order’ (The Daily Telegraph)» More

‘This, as you would expect, is a beautifully produced and presented recording of Rameau’s complete Pièces de clavecin … Mahan Esfahani is a brilliant technician, but more than that he is a master at delivering the character in these pieces. Dark minor-key drama, dancing rhythms and elegance are created with the utmost refinement, and refinement is a major strength of this set as a whole’ (MusicWeb International)» More

‘Jonathan Cohen's choir of 20 can convey the inward spirituality of Et incarnatus est and the laudatory éclat of the Gloria and Et resurrexit with equal efficacy. The excellent high-voiced soloists are Lydia Teuscher and Ida Falk Winland, duetting sensuously in the Christe eleison, and Tim Mead’s rapt alto in Qui sedes and Agnus Dei. Samuel Boden’s lithe tenor and Neal Davies’s solid bass blend ideally with their colleagues’ (The Sunday Times)» More