'I would add the unflagging energy of the choral singing and its phenomenal accuracy: the members of Tenebrae … are clearly all top musical athletes' (International Record Review)

'A light, bright, exciting sound' (The Times)» More

'A wonderful record, for home listening in intimate surroundings' (International Record Review)» More

'This one definitely belongs in the hall of fame ... The musicality in this set is terrific, the Tenebrae Choir a marvel to behold, and the LSO playing like they never have. The soloists are outstanding … this is a marvelous set by a man who knows the work perhaps better than anyone, and can get to the heart and soul of Handel's celebrated score. Bravo!' (Audiophile Audition, USA)

'Thomas Bowes has the right kind of sound—warm and dutifully expressive—to highlight the music's melodic strengths, and his energetic pursuit of Metcalf's lavish decoration powers the music onwards, through the overlapping repetitions of the middle section towards its cathartic conclusion' (Gramophone)

'A close-harmony choral version of Beethoven's Fifth slides into 'Staying Alive' by the Bee Gees, all over vocal drum'n'bass … yes, it could have been awful, but the Swingle Singers and Shlomo ('the human beatbox') get away with it with fabulous panache. On this amusing disc they present funked-up arrangements of Dido's Lament, Albinoni's Adagio and inter alia, the theme from Starsky and Hutch. Their precision is awesome, their technique impeccable. If one or two of the pleasant, vibrato-less voices sound a bit thin occasionally, it doesn't prevent this amusing and witty disc from being a little gem' (Classic FM)

'With a young choir whose members have spent weeks intensively polishing their craft, there is a collective enthusiasm for the music and for art of choral singing which transcends matters of technique and interpretive depth' (Gramophone)

'Unmissable' (Classic FM Magazine)» More

'This performance is both passionate and precise, with magnificent contributions from Gilchrist and Filsell' (The Sunday Times)» More

'The present rewriting, which Schubert and Schumann would have definitely supported, respects the original score most scrupulously, including the pianistic moments which, with a little magic, easily become strong violinist movements. A magnificent work, extremely convincing, which allows the two greatest piano fantasies of the 19th century to be listened to with a different ear' (Abeille Musique, France)

'If Souster's piece is a reminder of a talented composer who died far too young, then Montague's First Quartet is a memorial of another kind, written explicitly to honour two of his composer friends and driving itself to a ferocious, angry climax' (The Guardian)» More

'Ainsley's voice is in prime form—it is effortless at the top of his range, and the seamless shift from full voice to falsetto is magical' (The Times)» More