‘Director Robert King allows the beauty to be revealed on its own terms: the shape, phrasing and pacing all flow effortlessly. Added to this, the exquisite beauty of soprano Carolyn Sampson and the muscular elegance of James Gilchrist ensure that this is a landmark recording’ (Choir & Organ)

‘Robert King's approach allows the full beauty of the music to emerge naturally, a lesson for other early music speed merchants’ (Classic FM Magazine)

‘Robert King once again shows what a masterful Handelian he is. In this repertoire, the ensemble reigns supreme—perfection of pacing, phrasing, overall shape and individual details can all be taken absolutely for granted. The glorious colour in the ode is exceptional’ (Early Music Review)

‘A superb recording of a lovable work’ (The New York Times)

‘Apart from the contributions of Robert King's ensemble and choir and tenor James Gilchrist, there's one outstanding reason to invest in this pairing of Handel's Ode and the ravishing cantata Cecilia, volgi un sguardo: the soprano Carolyn Sampson’ (The Independent)

‘For sheer hedonistic delight, few works beat Handel's 1739 Ode for St Cecilia's Day. Dryden's poem in praise of music's powers was a gift to a composer with a genius for the picturesque. 'Handel responded with a string of arias and choruses in his most colourful, sensuous vein. He rarely wrote more ravishing arias than the soprano's sarabande evoking Jubal's lyre (cue for a glorious cello solo), or the serene tribute to the "sacred organ". Carolyn Sampson's limpid tone and graceful phrasing are a prime pleasure in a first-rate performance. Tenor James Gilchrist combines Handelian elegance with muscular bravado in his rollicking "The Trumpet's Loud Clangour". The chorus is crisp and youthful-sounding, and each of the instrumental solos is eloquently done. What gives King the edge over the equally vivid version from Trevor Pinnock (DG Archiv) is the bonus of the rare Italian cantata Cecilia, volgi un sguardo that Handel composed to accompany his earlier Cecilian ode, Alexander's Feast. As an inveterate recycler, he drew liberally on earlier music. But no matter. The results are charming and occasionally, as in the rapt central section of the soprano aria, rather more than that. A delectable disc’ (The Daily Telegraph)

‘Robert King beats the ageing process with regular injections of new voices: they remain full of zest … excellently recorded, this is an unmissable disc of Handelian delights’ (BBC Music Magazine)

‘This is a mouth-watering performance of Handel's colourfully gorgeous ode … the recording is in a class of its own when it comes to the seemingly effortless, beautiful singing of Carolyn Sampson, now the best British early music soprano by quite some distance … notwithstanding many agreeable past achievements, King has seldom produced a disc of such outstanding conviction’ (Gramophone)

‘This new recording finds Robert King and his splendid King's Consort on top form and in Carolyn Sampson he has surely found one of the most exquisite voices for this repertoire’ (Gramophone)

‘Stephen Layton has drilled his singers to perfection in this trio of Handel's Chandos Anthems, making every word distinct and every crisp consonant a taut springboard on which to propel Handel's irresistible rhythm, aided by some wonderfully tight playing from the Orchestra of the Age of Enlightenment. Thomas Hobbs is the stand-out soloist, his delightfully light and easy tenor perfect for this repertoire’ (The Observer)

‘This volume is every bit as good as the first, with an outstanding solo line-up and compelling, razor-sharp performances … soloists, choir and orchestra are outstanding under Layton's intelligent, stylish direction, allowing the surface details to sparkle against a fluid rendering of the basic architecture … beautifully recorded and with excellent booklet notes by Graydon Beeks, this recording is a must, not only for lovers of Handel's music but of fine choral singing’ (International Record Review)

‘Three cheers for three more anthems for the Duke of Chandos to complement the same already available from the same conductor and choir … Stephen Layton directs his young singers with such a perfect control of texture and rhythm … Susan Gritton charms with the dotted rhythm of 'O magnify the Lord' and Thomas Hobbs—assisted by violins and recorders—delicately evokes a pastoral scene in his first air’ (Gramophone)