‘This wonderful Hyperion collection featuring The Nash Ensemble at its golden-toned and responsive best … Coleridge-Taylor's Op 10 emerges as a quite astonishingly mature achievement … backed up by a blemish-free production from the Keener/Eadon team and attractively presented, this has to be one of the most engaging releases I've heard all year’ (Gramophone)

'Loyset (‘Louietje’) Compère (1440-1518) is een interessante, zij het minder bekende grootmeester van de Vlaamse polyfonie' (Kerk & Leven, Belgium)» More

‘Anyone who knows the superb Orlando Consort will not pass it up’ (Fanfare, USA)» More

‘Performances of matchless stature and authority. This is an outstanding recording in every respect’ (Gramophone)

'Concerti Curiosi builds on the popularity of Charivari Agréable's recent recording of "Pachelbel's Vespers", the period ensemble here turning its attention to assembling a range of concerti by lesser-known composers of the Baroque era. The highlight is Pietro Domenico Paradies' aptly-titled A Favourite Concerto, a delightful harpsichord piece that affords the ensemble's director Kah-Ming Ng full rein to display his keyboard prowess. Soloist Jamie Savan is similarly dazzling on the two cornett concerti, by Pietro Baldassari and polymath Johan Daniel Berlin, of which the latter's Sinfonia à 5 offers an intriguing blending of the cornett's neat, upright tone with the droney textures of strings and harpsichord' (The Independent)

‘Elegant listening’ (American Record Guide)

‘Stylishly played and naturally recorded … I urge you to share the pleasure I have had from this record’ (Gramophone)

‘What is, or are, conductus? The body of anonymous medieval songs, usually sacred but not liturgical and mostly forgotten, flowered in France in the mid-13th century around the time of the Notre Dame school. This new Hyperion disc … should reawaken interest in this beguiling repertory. The poems are about life, death, salvation and, naturally, the frail virtues of women ('He who strives to keep and lock in a roving young woman/Is washing a brick'). Three tenors—John Potter, Christopher O'Gorman and Rogers Covey-Crump—deliver these explorations with unerring skill and conviction’ (The Observer)

‘Ear-opening performances … in conductus Beate virginis Potter and Christopher O'Gorman allow the fragrance of the words to irradiate the rhythm and the melodic lines. The beautiful three-voice monostanzaic conductus Stella serena with which the recording ends sees Potter, O'Gorman and Rogers Covey-Crump at their most delicate and forlorn’ (International Record Review)

‘Conductus proves that ascetic simplicity can be as deeply moving and aesthetically breath-taking as the most complex, heart-on-sleeve music … it's hardly necessary to mention that the performances are superb, their precise diction well-served by Jeremy Summerly's production and Julian Millard's engineering. The sound is intimate yet resonant, closely-focused and detailed yet with an ambience vividly suggesting spaciousness’ (BBC Music Magazine)

‘There have been remarkably few recordings of the conductus repertory—those marvellous settings of mainly accentual Latin goliardic poetry from the years around 1200 … John Potter is one of the most experienced singers in the world for this kind of music and he is magically balanced by the glorious voice of the much younger Christopher O'Gorman. For the three-voice pieces the still impeccable Rogers Covey-Crump joins them … these are seriously classy performances’ (Gramophone)

‘The three singers blend beautifully and each is attuned to the character of this graceful music … the recording is detailed yet resonant, serving the needs of lyric clarity whilst evoking a pleasingly airy ambience’ (BBC Music Magazine)