‘Hamelin's refined taste and limitless technique serve the music well. Pure joy’ (The Absolute Sound, USA)

‘To whichever composer Marc-André Hamelin turns his (amazing) hand(s), he reinvents himself, chameleon-like, to convince you that he is the authoritative voice of that composer … hearing Hamelin play Fauré is like observing the workings of a luxury-brand wristwatch with its many interdependent and intricately connected parts working in perfect harmony to produce the movement you see on the clockface. I don’t mean by that analogy that Hamelin is all unruffled perfection and too cool by half … for there are many passages in which he displays deep and heartfelt passion (try Nocturne No 12 or Barcarolle No 5). And listen to his voicing of the stormy central (allegro) section of Nocturne No 5, where he somehow manages to make both hands equally significant while allowing the (leading) bass melody just that bit of extra significance. This is refined pianism of a high order … fresh, spontaneous and altogether superbe’ (Gramophone)

‘The Orlandos bring to the table many years of experience of singing together … the words are always delivered with real feeling (try En mon cuer), and one can hardly pass up the chance to hear the three late four-voice motets in close proximity. However many times one has heard it, the opening phrase of Christe qui lux still astonishes. At all times throughout this series, Machaut’s range is still astonishing’ (Gramophone)

‘This is one of the most satisfying of Cupertinos’s programmes, the Missa Veni Domine bright and outgoing, the Missa Vere Dominus more subdued and veiled, and the Magnificat a lively foil to both. The appearance of the original text of Guerrero’s motet in the final 'Agnus Dei' of the Missa Veni Domine is an imaginative touch in line with the view of the final Mass section as a moment of revelation’ (Gramophone)

‘All the qualities that have made The Tallis Scholars world leaders: absolute unanimity, perfect tuning, impeccable diction, stunning control and a seemingly effortless inevitability about everything they do’ (Gramophone)

‘Music of sublime nobility, holding to Roman certainties as England ricochets between rulers, technically fascinating, upliftingly sonorous and spiritually nourishing. The singing is immaculate and joyously committed in an admirably clear and immediate recording. A composer of genius? Absolutely’ (Choir & Organ)

‘Hamelin’s interpretations of these enriching scores certainly set the bar high. His playing is both lucid and refined, with a real feel for the idiom. He also fully exploits the piano’s wide range of dynamics and tonal color. The traversals of these two cycles is indeed impressive and they stand shoulder to shoulder with some of the finest in the catalogue … the sound quality is second to none, aided by a magnificent Steinway. Booklet notes, in English, French and German are by Jessica Duchen, who offers a fine analysis of the works performed. For those unfamiliar with Fauré’s piano music, this release is certainly as good a starting point as any’ (MusicWeb International)» More

‘This disc has strengthened my previous gut instinct: Filipe de Magalhães was a very fine, expressive and skilful composer. The music is presented by a technically capable and eloquent choir, so I feel even more strongly that these are oustanding masses … Cupertinos, as I said in a review of the music by Pedro de Cristo, sing with ‘open vowels, clear tone quality, precise intonation and immaculate diction’. The bio in the booklet suggests that more critics feel the same way’ (MusicWeb International)» More

‘This is a superb album. Stephen Layton has selected some thrilling pieces and his choir, which is on tremendous form throughout, sings them wonderfully. Their performances are alive to every nuance in the music and technically the singing is beyond reproach. A special word of praise is due to the two organ scholars, Harrison Cole and Jonathan Lee. All the pieces on this disc have critically important organ parts, several of them virtuoso in nature; between them they deliver thrilling performances, exploiting to the full the resources of the Ely Cathedral organ. The performances are enhanced by the way that engineer David Hinitt and producer Adrian Peacock have effected the recording. The choir has great presence and clarity while the organ has been most excitingly captured’ (MusicWeb International)

‘Marc-André Hamelin has made a name for himself by playing extremely difficult music with ease and musicality. The latest in the Canadian-born pianist's excellent series of deeply probing recitals of unusual music, all on the Hyperion label, is devoted to Gabriel Fauré, specifically to all thirteen of the French composer's Nocturnes and all thirteen of his Barcarolles … solidifying the qualifications of this double-CD set as the best to own is the addition of a lovely rendition of Fauré's Dolly Suite, with Hamelin's wife, Cathy Fuller, on the primo part … a perceptive booklet essay by Jessica Duchen … rounds out this most alluring new release’ (IonArts.com)

‘Anthems are bread and butter in the Trinity choir’s weekly diet of chapel services, and their consummate grasp of idiom energises the opening item, Elgar’s Great is the Lord … followers of British church music will snap this refulgently sung recital up, and await eagerly its successors’ (BBC Music Magazine)» More

‘Other ensembles have marked the Byrd anniversary with celebratory, large-scale offerings; The Gesualdo Six opt for the five-voice Mass, framed by penitential motets. The last and most richly scored of Byrd’s Masses offers perhaps the greatest scope for interpretation, with shifts and contrasts of texture to the fore, encompassing both two-voice writing and opulent chordal statements. It is a special strength of this recording that The Gesualdo Six sound pellucid and grand and yet intimate, as though combining two approaches. That’s down to a sound recording that feels very closely miked … and of course—almost needless to say by now—to the wonderful blend of sound the singers achieve. These qualities come through especially strongly in Circumdederunt me, whose special ending (or, rather, the minute or so preceding it) is a highlight; so is the expressive opening out that the singers bring to the phrase ‘dolores mortis’’ (Gramophone)