‘Alina Ibragimova's previous discs for Hyperion have all been of 20th-century repertoire … all in their different ways were first rate, but none of them gave any inkling of just how startlingly good Ibragimova's solo Bach recordings might be. This is an absolutely compelling set of performances, the kind that have you on the edge of your seat wondering at the freshness of it all and what she might do next. Every phrase in these familiar works seems newly minted, every bar totally alive’ (The Guardian)

‘One baulks at reducing this sublime discourse to adjectives … these solo structures are thin yet monumental, linear yet multilayered, technically specialised yet altogether soul-rending, and she capitalises on every paradox. More simply, her sound is seductive, her virtuosity bracing and every movement a victory … a true enshrining of the violin's soul’ (The Sunday Times)

‘Ibragimova reveals herself to be an exquisite interpreter of solo Bach … her Bach comes as something of a revelation. The finesse we've previously admired in her playing is here combined with thoughtful stylistic awareness and a distinctive, individual approach … all her stylishness and technical refinement is at the service of an ingrained understanding of the music’ (Gramophone)

‘She's supremely alert to the idiomatic nuances of each dance … her technical accomplishment is awesome. The D minor Giga scampers along as if mindful of the transcendent monumentality of the Ciaccona lurking around the corner—and when it arrives, Ibragimova tip-toes and soars with aplomb’ (BBC Music Magazine)

‘Elizabeth Wallfisch's deft articulation succeeds in getting to the heart of the music’ (The Strad)

‘This set would be a most tempting release at full price; at budget price it is irresistible’ (Soundscapes, Australia)

'two great players who know the music's personality and mannerisms' (Classics Today)» More

‘I enjoyed her interpretations. Dyads are excellent value for money’ (Classical Record Review)

‘Stephen Layton directs this intense, dramatic reading with intelligence and integrity, ably assisted by an excellent team of soloists. Ian Bostridge is a superly articulate, agile and expressive Evangelist’ (Early Music Today)

‘There have been many fine recordings of this work … but this is the equal of anything I have heard. Lead by tenor Ian Bostridge as the Evangelist, and Neal Davies as Christ, this is a rivetingly taut and dramatic performance, beautifully recorded’ (Dominion Post, New Zealand)

‘A very welcome new recording … Stephen Layton presents an intelligently perceptive performance, beautifully sung by a fine team of soloists … this recorded version comes finely honed, a deep familiarity with the score not causing any hint of routine but showing itself in an easy fluency as it passes from devotional strength though the depths of pathos and anguish to high drama, the immediate aftermath of the Crucifixion creating a vividly powerful climax … Ian Bostridge brings to the role of Evangelist great authority and potent power … profoundly impressive, with his vocal dexterity, marvellous purity of tone and astonishing sense of involvement achieved through placing great emphasis on the delivery of the text. In Neal Davies we have a Christus who exudes anguish but also considerable poise … Layton's reading gets closer to the heart of the passion story than most and as such, is a recording that ranks very highly indeed. The recorded sound is, as we would expect, superb’ (International Record Review)

‘Stephen Layton, top soloists, the expert choir of Polyphony and the incomparable Orchestra of the Age of Enlightenment perform the St John Passion annually at St John's Smith Square … concentrate … on the purity of sound, the emotionally expressive yet restrained performance by all and the impeccable attention to text of the soloists. Ian Bostridge lives every word of the narration but never over dramatises. Countertenor Iestyn Davies's almost disembodied account of 'Es ist vollbracht!' ('It is finished!') is unforgettable’ (The Observer)