‘Listening to Joyce is strangely addictive. One cannot wait, as it were, to read the next chapter. She shares with Kreisler and Tauber the same unteachable ability to elevate the second-rate to the first-rate, and to illuminate familiar masterpieces with a convincing and unmistakable voice … this is such a cornucopia of good things it is hard to know where to start … full marks all round for an early Award contender’ (Gramophone)

‘The Ballades are simply magnificent, up there with the best. Always warm and well-shaped, they are very complete in their understanding of where the music is going, always convincing in their rubato’ (MusicWeb International)

'This is very much the mixture as before in the first of Signum's projected cycle of the complete Poulenc songs … Lorna Anderson sings delightfully the three Lorca songs, very simple in their lyricism … Felicity Lott demonstres her mastery of French operetta style. Signum again provides excellent notes by Roger Nichols and full texts and translations' (Gramophone)

'In many ways, the readings are eloquently persuasive. He's certainly got the measure of Rachmaninoffs dark colors (try the sonata's glowering middle movement), and his handling of texture is often beguiling' (Fanfare, USA)» More

'Thierry Fischer's French sensibility is evident from the very start of this brightly lit and articulate Rite: a provocative and teasing rubato in the opening bassoon solo immediately hints at the sexual and the chic … the precision of the Welsh orchestra is impressive, the clarity and vitality of the sound throwing up detail that one thought had long since stopped being surprising' (Gramophone)

'Revel in Robert Quinney's superb, multifaceted, virile, eloquently expressive playing of Westminster Abbey's mighty Harrison & Harrison organ. The music is all by Elgar, but only the G Major Sonata, given a performance befitting the music's nobility as well as its thrilling tonal spectrum, was written for solo organ. Magnificent' (The Daily Telegraph)

'The recorded sound mixes bloom and transparency perfectly, and if Charivari prefer to emphasise the intimacy of their playing at the expense of sonic energy, that presumably is their choice. Perhaps none of these concerto rarities will set the pulse racing but, lovingly unearthed by this enterprising little orchestra, they do indeed provide much to interest the curious-at-heart' (Gramophone)

'Glover's sense of drama, attention to detail and tempo relationships, and feeling for ritual nourish a persuasive interpretation, one backed by the Northern Sinfonia's stylish playing. Elizabeth Watts and Catherine Wyn-Rogers add deep emotional impact to the performance' (Classic FM)» More

'As usual with Temirkanov, the performances are marked by decisive tempi, clean phrasing, and immaculate orchestral playing … if you are a Temirkanov fan, you'll certainly want this' (Fanfare, USA)» More

'Jeremy Filsell confesses that through featuring repertory that has remained in his consciousness ever since he 'could first reach the piano's keys and pedals simultaneously' this recording represents 'the sum of a personal musical journey'. Such close identification with what he terms 'Rachmaninov's inexhaustible variety of expression' is strongly reflected in his well-chosen and warmly recorded programme which inevitably includes many familiar favourites' (BBC Music Magazine)» More

'The much-improved regional orchestra's take on Stravinsky’s Rite is as exciting as it is lucid and clear-cut. Yet conductor Thierry Fischer also makes much of the many lyrical passages which counteract the prevailing frenzy. Another Diaghilev ballet, Poulenc’s Les biches is performed with its original choral contributions. The music is the epitome of the Jazz Age but also has its more serious moments' (The Daily Telegraph)

'This new recording was made at a concert at the Queen's Hall in Edinburgh, although strangely a sense of the occasion is hard to detect. The playing standard is excellent, with the strings of the Scottish Ensemble finding a light and suitably transparent texture in the Vivaldi, matched by bright, stylish solos from Jonathan Morton' (Gramophone)