'James Rhodes (known here as 'Jimmy') is every bit the modern-day rock-star pianist; he unashamedly wears jeans and trainers on stage and—horror of horrors!—actually speaks to his audience … but beneath the showmanship is real substance; what Rhodes has to say—and play—is infinitely interesting, pertinent and amusing' (International Piano)» More

'In the nineteenth century, Mendelssohn's oratorio became a central work for British choral societies, and, unlike Handel's Messiah, Elijah continues to flourish as a large-scale work, often weighted down by sanctity. But Paul McCreesh here totally re-imagines it: the big choruses are transparent as well as massively impressive—with young Gabrieli voices and a Polish choir in the lead—and there is no danger of religiosity in the fresh-voiced solos of Rosemary Joshua, Sarah Connolly and Simon Keenlyside: 'O rest in the Lord' and 'For the mountains shall depart' flow with genuine fervour. In all, a spectacularly successful reinvention of the British choral tradition' (The Observer)

'This recording of Mendelssohn’s epic Old Testament oratorio was made in the wake of last year’s acclaimed performance at the BBC Proms … Elijah is a natural progression for the Gabrieli Consort & Players, albeit that the choral complement is greatly expanded by the Wroclaw Philharmonic Choir, Chetham’s Chamber Choir, North East Youth Chorale, Taplow Youth Choir and Ulster Youth Chamber Choir … familiar moments in Elijah sound newly minted here, McCreesh approaching them with polished, fluent phrasing and using the period instruments of his orchestra to underpin emphases and to add vibrant colour' (The Daily Telegraph)» More

'Is Will Todd slowly morphing into the new John Rutter? This soothingly mellifluous collection of 12 short choral pieces suggests as much. Tenebrae, a crack choir, sings it all immaculately' (BBC Music Magazine)

'And what music! While not competing in any way with the Da Ponte operas of course, I have heard many classical period pieces by mature composers that can't top the sheer invention found here. This three-part plus overture (intrada) work sparkles from beginning to end, and we marvel at the skill of the young composer. Sure there is a little too much recitative, but even that resonates with a skill and dramatic flavor that a man twice the age—make that three times—would be proud to have accomplished. This production is simply wonderful and leaps to the top of a very small list. The Hegel recording on the Philips Mozart Edition years ago was fine but can't compete with this. Notable are the principals, Klara Ek as Melia and counter-tenor Lawrence Zasso as Apollo, who carry the weight of the production, but also menacing is the counter-tenor of Christopher Ainslie who takes the role of Zephyrus. The orchestra is first rate' (Audiophile Audition, USA)

‘Clein and Volkov give a performance of Schelomo (1916) that is very moving, both in its profound sensuality and in the pervasive sense of transience that gnaws at its vision of worldly glory. They bring the same commitment to From Jewish Life (1924) and Voice in the Wilderness (1936) … the other knockout is Bruch's Kol Nidrei … beautifully done, it brings the disc to a reflective close. Highly recommended’ (The Guardian)» More

‘The strongly emotive musical aura of Bloch's Schelomo seems ideally suited to Natalie Clein's impassioned style of cello playing … Clein delivers a powerfully committed performance, but also manages to avoid over-indulgence, negotiating the peaks and troughs of the music's volatile emotional language with a clear sense of direction. Undoubtedly, Ilan Volkov and the BBC Scottish Symphony Orchestra play a vital role in this process. Volkov brings a welcome transparency to Bloch's languorous instrumentation in the reflective secions, while the raging torrents of the orchestral tuttis have rarely sounded more highly charged’ (BBC Music Magazine)» More

'In 1993, Hakim succeeded Messiaen as organist of La Trinite in Paris, and served in that position for 15 years. Like Messiaen, too, Hakim 's music often has a religious emanation, albeit more widely cast than Messiaen's (or MacMillan's) Catholicism, and on this album we find excellent examples of the nature of Hakim's inspiration which (of course) lies at the heart of his music' (International Record Review)» More

'From the first notes of music by the fifteenth-century Jewish Italian composer, Pesaro, the plangent trumpet playing of Graham Ashton and colourful organ registration of Michael Matthes produces a captivating ensemble. The 3-manual instrument, originally the work of English builder John Abbey, has had several rebuilds, the latest and most successful by French builder Bertrand Cattiaux in 2002. Arrangements of baroque works here contrast with Roger Steptoe's fresh Sonata for Trumpet and Organ, which, with it's perceptible influenceo of Hindemith, concludes this enjoyable album' (Choir & Organ)

'Rhodes obviously has it in him to be a persuasive Beethoven interpreter. Whatever persona Rhodes chooses to cultivate in terms of presentation, he certainly is a serious musician' (Gramophone)

'This disc from the King's Singers is a notably intelligent, enjoyable Jubilee offering' (BBC Music Magazine)» More

'This scintillating recording of the 1767 Latin opera reveals just how early Mozart's instinct for character was formed. In keeping with historic practice, cellist Joseph Crouch's continuo line is arpeggiated. The cast is beautifully contrasted, with Klara Ek and Sophie Bevan the cool and warm sopranos and Lawrence Zazzo and Christopher Ainslie the heroic and plangent counter-tenors. Tenor Andrew Kennedy sings Oebalus with authority and elegance' (The Independent)