‘In my book, Samuel Barber is one of the finest of all songwriters of the 20th century … every human emotion … is astutely conveyed. Gerald Finley knows this well, and here sings some of Barber's finest … ably assisted by the pianist Julius Drake, Finley communicates with finesse every poetic nuance, his golden baritone allied to rare poetic intelligence’ (The Sunday Times)

‘Having served the songs of Charles Ives with enormous distinction, the partnership of baritone Gerald Finley and pianist Julius Drake shift artistic gear to explore works by one of America's greatest tunesmiths. Samuel Barber's lyrical writing and subtle feeling for expressive shading were matched in his songs by a Britten-like aptness for word-setting, which ideally suits Finley's compelling blend of emotional conviction and vocal sensibility. On the strength of his interpretation of the Hermit Songs alone, regardless of his majestic readings of Barber's Rilke settings and Dover Beach, Finley enables this album to command its price as one of the year's finest vocal releases. Unmissable’ (Classic FM Magazine)

‘Finley captures the 'eternal note of sadness' that the poet Matthew Arnold hears on the wave-dragged shingle on Dover Beach … Finley and Drake make an excellent partnership throughout’ (The Times)

‘A CD of Barber's songs may, on the surface, seem like too much of a good thing, until you listen to Finley's magisterial survey … using his handsome baritone to explore the Britten-esque lyricism of the Hermit songs and the Francophone poetry of his Mélodies passagères’ (Financial Times)

‘Performances of this calibre emphasise Barber's stature in the mainstream of 20th-century song composers … Finley and Drake are impeccable (as are the Aronowitz Quartet in Dover Beach) … this is another outstanding Hyperion release that does credit to Barber in what will soon be a run-up to his centenary’ (Gramophone)

‘Gerald Finley is golden in tone, persuasive in phrasing, and unfailingly responsive to the sound and sense of the words. Julius Drake once more proves a strong and imaginative partner, and a quartet from the Aronowitz Ensemble makes a promising recording debut … a very satisfying recital’ (BBC Music Magazine)

‘Charming programme … very beautiful. A highly commendable issue’ (Hi-Fi News)

‘A delightful evocation of that momentous Christmas night’ (The Tablet)

‘Lawrence Power plays all three pieces with big-toned, fibre-rich advocacy’ (The Irish Times)

‘The viola soars into wide-ranging beauty in Lawrence Power's expert hands … Power really makes his viola throb in Bartók's dark-hued unfinished concerto’ (The Times)

‘Here's a wonderfully imaginative piece of record programming … [Rózsa] This piece derseves to become the viola player's answer to the Korngold Violin Concerto. The superb accounts of the Bartók concerto and Serly's short yet compelling Rhapsody only enhance this set's desirability’ (The Sunday Times)

‘Power’s supreme artistry fuels performances of works by composers who are linked. Serly, who edited Bartók’s Viola Concerto, is given the limelight in his Rhapsody, and the spicy concerto by Rózsa makes for a pungent coupling. All are energised by the orchestra’s vigour’ (The Daily Telegraph)