‘Both cello sonatas are rolled out effortlessly and with an abundance of colour … other short cello works, the delicious Élégie included, pad out this sizeable, and very satisfying, offering … a super recording’ (The Scotsman)

‘Like the works themselves, Gerhardt's playing and that of the pianist Cecile Licad is full of subtleties, the half-tones and inflections that make the chamber music of Fauré's final decade so elusive and fragile’ (The Guardian)

‘Gerhardt and Licad make a particularly fine duo here, working emotionally in unison, sensing the music's contours with like mind, breathing as one’ (The Daily Telegraph)

‘Visionary performers … one has a powerful sense of Alban Gerhardt's compelling grasp of architecture’ (BBC Music Magazine)

‘An arrestingly beautiful survey … this repertoire has been explored frequently and by some of the best, but seldom more persuasively than here … from every standpoint, Gerhardt's accounts of the sonatas seem exceptional, with their assured technical mastery and uncanny depth of insight … magnificent cello playing from Gerhardt, empathetically supportive accompaniments from Licad and a wonderfully natural and atmospheric recording to boot … recommended’ (International Record Review)

‘Gerhardt and Licad sound as free as air, intellectually confident, full of verve, with niceties of balance and intensities never an issue; a convincing frame of colour, movement and sound in place for every movement, every piece’ (Gramophone)

‘This varied and generous selection of 28 songs is perhaps the best general introduction to this important side of Fauré's output and is also one of Geoffrey Parsons's finest recordings: voice and piano seem always to be at one. A magical disc’ (BBC Music Magazine Top 1000 CDs Guide)

‘A performance to treasure’ (Opera Now)

‘Deeply considered and deeply moving performances’ (BBC Record Review)

‘The best performances of this music I have heard. Her interpretations combine freedom and control in performances that range from the most tender lyricism to splendid flights of passion, all colored with subtlety and presented with artistry’ (American Record Guide)

‘Take, for instance, the Fourth Nocturne—in Stott's hands a suave miracle of purling pearliness, fraught with delicate hesitations and suppressed sighs, framing a muted climax in the very best taste. Ah, that belle époque twighlight … elegance, nostalgia!’ (Fanfare, USA)

‘Angela Hewitt is totally sympathetic to Fauré's sometimes elusive world and her Fazioli piano is superbly recorded’ (Liverpool Daily Post)