‘Ronald Corp has few rivals in conveying one prerequisite element of this repertoire—charm’ (BBC Music Magazine)

‘Respectfully and meticulously played … this impeccably produced program—like its three predecessors—remains a precedent-setting endeavour that is sure to elicit grateful appreciation from many quarters’ (Fanfare, USA)

'Matthew Barley gives us [Britten's Third Cello Suite] in a superbly imaginative programme that's full of echoes of and responses to the Britten' (Gramophone)

‘Boyhood's End is more of a continuous cantata than a song cycle, and Padmore's concentration on the beauty of the continuous, excitable melisma is surely the right way to go, when Tippett's vocal writing is at it's early, florid best. Padmore's accurate tenor is really used as another, powerful instrument. The voice seems more played than sung’ (Fanfare, USA)

‘This is still a voice of youthful freshness, commanded with skill and assurance. The programme tests his musicianship very thoroughly, and it reveals also considerable powers of expressiveness, both forthright and subtle … Vignoles is marvellously clear in notes (often fiendishly difficult) and rhythm, and he contributes an excellent essay’ (Gramophone)

‘Sung by Mark Padmore who, on this form and in this repertory, seems to me to be unrivalled among younger English tenors … with Roger Vignoles as the Britten-like pianist, this ranks as one of the finest discs of English songs to have been issued for some years’ (The Sunday Telegraph)

‘Mark Padmore and Roger Vignoles perform all these songs with great understanding and sensitivity; in fact I was surprised at how much intensity of feeling they found in the stark Hölderlein songs. Padmore is equally at ease with the minutely expressive wordsetting of the Britten songs and the long, soaring lines of the Tippett’ (BBC Music Magazine)

‘This is a remarkable debut recital by one of the most intelligent, musical and thoughtful British singers before the public today. It's not easy listening, but Padmore and Vignoles demonstrate song's unique power to shake, stir and move. The recorded balance is ideal, but no company is more experienced in the art-song repertoire than Hyperion. Another jewel in an already superlative crown’ (International Record Review)

‘The ensemble is superb, the solo work amazingly mature, and the range of tonal coloring a delight. This is an outstanding collection, beautifully and atmospherically recorded’ (The Penguin Guide to Compact Discs)

‘Not to be missed’ (Gramophone)

‘There are six other recordings of the piece available, including Britten's own with Peter Pears and David Hemmings, but I would keep this one before all of them’ (Fanfare, USA)

‘The clear-toned adult voices of The Choir of Trinty College, Cambridge, highlight qualities in the work often missed when performed by the usual boys' choir: the eerie beauty of 'That yongë child' blossoms … a welcome recording of this well-loved work’ (BBC Music Magazine)