‘From the first notes of the opening solo—an arioso/recitative with only continuo accompaniment—Iestyn Davies announces his clear, golden, mellifluous countertenor, and with his ingratiating tone and range of emotional expression convinces us that this is the ideal voice and character for this music. His virtuosity—control, consistency across registers, ease in both the fastest, most challenging roulades and melismas and the most delicate points of articulation—is not 'out there' but rather keeps itself fully inside the musical line and text. Although there are, for some reason, relatively few available recordings of these two cantatas (Andreas Scholl offers a fine rendition of BWV 35), it doesn’t matter when we have such excellently sung and played versions as here … for the two cantatas, you won’t find better performances. Davies is among the world’s best countertenors—a reliable, engaging, and impressive singer no matter what he performs, and he certainly is an exceptional interpreter of this repertoire’ (Classics Today)

‘I was immediately impressed and have been enduringly satisfied by this CD … Esfahani makes the most of this instrument's registers, and I would go as far as saying that this is a harpsichord recording for people who dislike harpsichords. To start with Esfahani's performances are full of expressive flexibility and arguably more the kind of playing you might expect from a pianistic interpreter, balancing that fine line between magnificent artistic inventiveness and distorting Bach's currently accepted idiom and to my ears easily falling on the right side of the argument. He appears to have shed himself from ‘historically informed’ delicacy and the formula of that Baroque machine that switches on, runs through and stops without much variation within a movement, and is also very good at giving the impression of there being a sustain pedal at his disposal. There are glorious contrasts all over the place, such as the final Presto of BWV971, which is taken at an exciting tempo and runs through an entire gamut of registers, pumping out every ounce of value from the rhythmic and harmonic drive of its 3:36 duration … a marvellous listening experience that is going straight into my collection of Bach favourites’ (MusicWeb International)» More

‘Alina Ibragimova has recorded extensively and in a wide variety of repertoire for the Hyperion label, and I particularly enjoyed her Mozart sonatas with Cédric Tiberghien. Recorded with fairly close detail but with a subtle halo of fine acoustic in the Henry Wood Hall, this solo recording is another very fine addition to her discography … Ibragimova's playing embraces Telemann's often playful inventiveness, giving us sprightly energy in the dance movements, real sustained drama where this is demanded, wide dynamic range and expressive lyricism in performances from which that all-important sense of contrast is key. The aesthetic here is ‘period style’ in the sense of generally avoiding vibrato, but the violin sound is both crisp and full, the clarity and skill in playing Telemann's at times very tricky counterpoint (so much for being not too complex technically) at times truly breathtaking … I would personally put Alina Ibragimova at or very near the top of the heap when it comes to the Historically Informed interpretations. Her natural sense of communication gives these pieces an almost effortless feel and this is the kind of recording you can easily enjoy in one sitting, which is not something you can say about too many solo violin discs’ (MusicWeb International)

‘Whatever it was that made the 1880s such an astonishingly fertile moment for cello writing, Isserlis's decision to double down and draw attention to even more works from that decade pays dividends. The original version of the Strauss is a joy, the Kol Nidrei offshoots are fascinating, and the Le Beau is a truly magnificent rediscovery that belongs right at the heart of the repertoire’ (Presto Classical)» More

‘I have to say that I have enjoyed this cycle a lot. The same concept of combining the symphonies with unusual and interesting ‘fillers’, the same creative team of conductor, orchestra and producer and (mainly) the same recording venue of the Watford Colosseum has seen commendable continuity across the cycle … this performance [of No 8] by Martyn Brabbins and the BBC SO is the equal of any recent performance I have heard. In part this is due to the sophistication and clarity of the recording which allows so many of the attractive details of the score to register. But also Brabbins is very good at allowing the music to unfold in an unforced and good-natured way. The second movement for wind and brass alone is especially bucolic but then the third movement for strings is beautifully lyrical and sustained without sounding at all forced …this cycle of the Vaughan Williams symphonies goes from strength to strength. Collectors who have already purchased earlier volumes can do so again with confidence. Everything about this Hyperion release is admirable … the final release is eagerly awaited’ (MusicWeb International)

‘One of the things that makes Osborne’s interpretations so appealing is the spontaneous ease with which they meet the ear. I can’t think of another reading of the Suite bergamasque that sounds so fresh, as though it were improvised on the spot. And what a happy solution to revivifying these well-trodden pages of the repertory, recapturing their inspiration: tempos tend towards the brisk, indulging the playful, yet always remain perfectly characterised and articulate. When, following the insouciant glissando that ends the ‘Menuet’ and arriving in the silvery light of ‘Claire de lune’, we discover a clean, masculine account, full of sentiment but far from sentimental, reminding us why this is one of the most beloved expressions ever confided to a piano. Once again we have the opportunity of hearing both a superb pianist in top form and a deep and perceptive musician at work. Don’t miss this one’ (Gramophone)

‘Horsch harnesses no less than nine different instruments, bringing a kaleidoscopic range of colours to the repertoire … the transcriptions, including several by Horsch herself, are an enchanting reminder of the fluidity of musical works, inviting us to recalibrate our listening’ (BBC Music Magazine)

‘Alina Ibragimova brings us an excellent, eloquent interpretation of Telemann’s Fantasias for solo violin. The sound of Henry Wood Hall is gorgeously captured by Hyperion … the Allegro that closes the Fantasia in G is full of punch and flair. The outer movements of the Fantasia in D are similarly athletic. Ibragimova’s playing is efficient yet resonant, and the balance between cultivated, high-art gigue and rustic energy achieved in the Allegro is a thing of genius. The Spirituoso from the Fantasia in E is exactly what it says on the tin. The playing is nimble, and Ibragimova’s subtle syncopations and sparkling filigree are a delight … overall a superb recording’ (Gramophone)

‘Alina Ibragimova [uses] her silky skills as a player to show us what magical pieces they are, dancing playfully and singing soulfully in these artful miniatures. It’s a lovely recording as well, a subtle framing of the solo violin that somehow emphasizes the player’s isolation and the intimacy of the music’ (BBC Record Review)

‘It was the sixth symphony that immediately grabbed me by the scruff of the neck and wouldn’t let go. Well, it always should with its opening howl of orchestral anguish … such a perfectly paced performance from the BBC Symphony Orchestra conducted by Martyn Brabbins and the sheer detail and shimmering beauty of the recording itself means that you don’t miss a thing … this has become an unmissable Vaughan Williams cycle for the Hyperion label: just one volume to come, this penultimate one’s my Record of the Week’ (BBC Record Review)

‘Alina Ibragimova’s new recording of the set’s 41 movements runs to 65 minutes, and she is always judicious in choosing not to probe the music for Bachian profundities that it doesn’t have to offer. Her 'less is more' approach is highly appealing, bringing an attractive dancing lilt to many of the faster movements in a set where actual dance designations are rare indeed. Her eschewal of vibrato even in the slow movements, and her light-fingered dexterity in the fast ones, make the most of the music’s contrasts. So forget Bach: think instead of a sequence of delectable morsels, exquisitely presented’ (The Irish Times)» More

‘Everything about this recording of Schubert’s great cycle is distinguished. Producer Mark Brown and engineer Ben Connellan have recorded the performers most sympathetically. Richard Wigmore brings his expert knowledge to the booklet essay. But, above all, it’s the two musicians on whom the focus falls. Gerald Finley’s singing is superb from start to finish. The sheer sound of his evenly-produced voice is a great pleasure in itself but it’s the perceptive way in which he uses the voice that sets the performance apart. He’s absolutely convincing in the Schubertian idiom and he seems to penetrate unerringly to the expressive heart of song after song. In Julius Drake he has a wonderfully supportive and perceptive partner. Between them, these two musicians offer an outstanding performance of the cycle which draws you in and doesn’t let you go. I have many versions of Die schöne Müllerin in my collection. This one takes a place of honour on the shelves’ (MusicWeb International)