‘Will Todd's moment in the glare of popular consciousness came in June when his anthem The Call of Wisdom was sung at the Queen's Diamond Jubilee service in London … under the graceful direction of Nigel Short, the 22 mixed voices of Tenebrae imbue it with a warm, comfortable glow' (Gramophone)

'This selection of new works for percussion ensemble offers a myriad different directions, several more refined and delicate than you'd expect from music. made by bashing. Howard Skempton's 'Slip-stream', for instance, is the most restrained of percussive duets, with vibes and glockenspiel twinkling delicately over shimmering cymbal, while. Peter McGarr's 'Sound Asleep' employs wind and string instruments alongside a wide range of percussion for a shifting evocation of a dreamscape. The longest piece is Keith Tippett's absorbing 'Dance Of The Dragonfly', a jittery work whose long pauses, punctuated by sudden rapid bursts of activity, skilfully evokes its insect subject's brief but dazzling life' (The Independent)

'Bliss places his own distinctive stamp on the familiar tunes and on at least two of the tracks his classical training adds to the performance … all in all this is a very good jazz debut album from a very talented musician, ably supported. He's someone to watch in the future and on this evidence highly recommended' (Jazz Journal)» More

'Gallicantus explores Byrd's fascinating 'personal musical exchange' with Philippe de Monte in The Word Unspoken. Six Byrd motets sit alongside five by the Italian who, like Richafort, deserves to step out from under the shadow cast by giant contemporaries.The singing is beyond exemplary: deeply felt, tenderly phrased, perfectly balanced, with the most profound understanding, seemingly bred in the bone' (Choir & Organ)

‘The reader may well divine that I am still half-in-love with Harriet some 40 years after first discovering her: that may well be true. However, I would challenge any person to listen to her performance of Debussy’s Clair de Lune and not be impressed, challenged and moved’ (MusicWeb International)

'The Exeter Philharmonic Choir is equally committed, well supported by the Royal Scottish National Orchestra. In sum, an unusual and heartfelt addition to the catalogue and a work that could well earn a place in the repertoire of more ambitious amateur choral societies' (Choir & Organ)» More

'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