‘With a singer of Christopher Maltman's quality these songs are presented here about as beautifully as they could be’ (Manchester Evening News)

‘The partnership of baritone Christopher Maltman and pianist Malcom Martineau has proved chemically sound in so many memorable live and recorded performances. This new release of Debussy songs for Hyperion is no exception’ (The Scotsman)

‘An admirable recital’ (BBC Music Magazine)

‘This young baritone invests all he touches with equal consideration and the 21 songs in his programme emerge fresh and compelling … a recording of strong focus’ (Yorkshire Post)

‘Christopher Maltman has already distinguished himself as a lieder singer, but now he reveals himself as a stunningly apt exponent of French mélodies’ (Opera News)

‘You could not wish for more than Maltman’s intelligent singing and Martineau’s customary sensitivity to every nuance’ (Classic FM Magazine)

‘On the present disc, Maltman distinguishes himself beyond expectation in the realm of French Mélodie, singing throughout with elegance, conviction, communicativeness, specific attention to the text, and unblemished technical security, all utterly without mannerism, in a varied program spanning 30 years (1880 -1910) of Debussy song … you should go out and buy it right now’ (Fanfare, USA)

‘A collection of 22 of some of the greatest of all French songs … what a wealth of imagery with which the composer challenges his singer … details are meticulously observed, everywhere. This is a true collaboration’ (International Record Review)

‘Malcolm Martineau's nuanced pianism partners Lorna Anderson and Lisa Milne in a sequence spanning most of Debussy's creative life … Anderson effortlessly glides through Debussy's limpid, lengthy phrases, while Milne's shivering sense of wonder is Mélisande-like in its pent-up excitement’ (BBC Music Magazine)

‘This is some of the most elegant singing I have heard and certainly some of the best fiddle playing now available … it is an excellent single-disc anthology of medieval song’ (American Record Guide)

‘Charmingly and effectively done, it is well worth hearing’ (Scotland on Sunday)

‘We had to wait five years for its release. Believe me, it was worth the wait. Hear this haunting music’ (Fanfare, USA)