'If you discount the ‘sacred singspiel' Die Schuldigkeit des ersten Gebots, Apollo et Hyacinthus is Mozart's first opera, written in 1767 when he was just 11 years old. It was commissioned to form lighter musical interludes to be performed during the weightier play 'The Clemency of Croesus', presented by pupils at the grammar school attached to Salzburg University. Mozart's libretto, in Latin, adapts the story of the god Apollo and the youth Hyacinthus, killed with a blow from a discus thrown by the jealous Zephyrus. The gay love triangle of the original myth is disguised in Rufinus Widl's libretto by the introduction of Hyacinthus's sister Melia, whom Apollo loves instead. Either way, it's a simple story that Mozart tells in a sequence of da capo arias, plus the odd duet, trio or chorus, with continuo-accompanied recitative linking them together. It's an astonishing piece for an 11 year-old, of course, though not in the same league as Mozart's mature works. The Classical Opera Company principals do very nicely by it. Tenor Andrew Kennedy, sopranos Sophie Bevan and Klara Ek and countertenor Lawrence Zazzo are all excellent, and Ian Page's band is neat and stylish' (BBC Music Magazine)

'The pure, refined balance of Voces8 is to be heard nowhere on this disc to better effect than the opening number, Bruckner's Os justi. Recorded in Brinkburn Priory, Northumberland, this mixed bag of a cappella favourites includes Byrd, Monteverdi, Victoria, Palestrina and Gibbons, as well as rarer items by Reger, Brahms and Rheinberger. Tavener's song of innocence, The Lamb, is the only original contemporary composition. What appears at first as a rather arbitrary sequence, on closer inspection unfolds as a very satisfying programme, albeit one in which the recording is perhaps a little too closely miked' (Choir & Organ)

'Apart from the variety of this great music, the polish of the choir's singing, combining a beautifully honed treble line with characterful yet restrained adult voices, is all recorded with fine balance. Copious sleeve notes add value to a very attractive release' (Choir & Organ)» More

'Any disc subtitled 'Music of Mourning & Consolation' is not going to be a bundle of laughs. But Paul McCreesh has devised such a satisfying programme of mostly short a cappella pieces that the effect is the reverse of depressing. Gibbons would not have approved of the English Hymnal's truncation of his joyful 'song' to fit different (albeit contemporary) words; but he might still have been moved by the slow, prayerful performance given here … an excellent disc' (Gramophone)

'Jill Crossland's intelligent, stylish, tasteful, tonally resourceful and beautifully recorded Rameau interpretations take their place alongside these luminaries … Crossland's elegance and subtle tonal gradations particularly shine in the Suite in D; listen to how she appears to throw the introspective phrases of 'Les soupirs' away while moving over the bar-lines, or the sense of weightless propulsion she generates in the churning rhythms of 'Les tourbillons'. This is Crossland's finest album yet' (Gramophone)

'The natural warmth of Walton's playing, matching that of Rostropovich himself, is finely enhanced by the crispness and fresh focus of Grim wood's accompaniments. Clear, well balanced recording helps to make this a first rate issue, with illuminating notes filling in the background behind each work' (Gramophone)

‘These Lamentations are not only serious liturgical entities, but they are gorgeous choral works in their own right, and Peter Phillips has been doing this kind of repertoire longer than almost anyone around these days—he knows how to do 'gorgeous' and 'liturgically correct' both at the same time, and we have him and his superb singers to thank for much of today's serious focus on early and Renaissance choral music’ (Classics Today)» More

'It was a crazy project involving 500 musicians, but what better way to celebrate the Polish-English direction of the Wroclaw Festival, Wratislava Cantans?' says Paul McCreesh, who, as artistic director, works alongside the dynamic general director Andrzej Kosendiak. For this stunning recording of Berlioz's Grande Messe des Morts, the Wroclaw Philharmonic and Choir plus the Gabrieli Consort and Players joined forces with young Polish string players and brass players from Chethams, who mastered nineteenth-century instruments with ease: 'I'm a great believer in working with young people, and they rose to the challenge superbly, which makes this award particularly thrilling' (BBC Music Magazine)» More

‘The quality that comes across in these performances is the sheer joy of playing. Joyce possessed a formidable technique and an interpretative mind that blended stylish sensibility with passion … Joyce’s breadth as well as her impeccable touch and distinctive artistic personality are valuably recalled here’ (The Telegraph)» More

‘The recorded sound is up close and personal, putting you right inside the music … an essential buy from a team who never put a note wrong. Excellent, informative booklet-notes too’ (Classic FM Magazine)

'Despite moments of considerable verve (notably in Chopin’s Etude Op 25/2) or charming delicacy, there hovers over Lev Oborin’s playing an air of prim dutifulness; seldom does his playing take wing' (Classical Music)

'The performances by the Ambache Chamber Ensemble are … even in quality' (Classical Music)» More