‘Layton is a peerless Handelian, master of the architecture, yet constantly alert to enlivening nuances that only seem obvious with hindsight … Susan Gritton's radiant soprano, Iestyn Davies's immaculately contoured countertenor and the appropriately 'English' tenor of Thomas Hobbs are the icing on the cake’ (BBC Music Magazine)

‘Emma Kirkby's voice has only improved with age; her tone is warmer and rounder, and her interpretive instincts, always sound, are fully on display here. The other three soloists are equally strong … this choir always is a pleasure to hear—singers this well trained and intelligent don't put a foot wrong anywhere—and the orchestra needs no confirmation of its baroque-music-playing credentials. Conductor Stephen Layton seems to be popping up everywhere these days—and we're all the luckier for that’ (Classics Today)

„Der Choir of Trinity College überzeugt mit klarem Stimmfokus, hoher Koloratursicherheit und exzellenter Aussprache … Nuancen bringen die vier Solisten nahezu optimal zur Geltung“ (Fono Forum, Germany)

‘Very good performances … Emma Kirby sings with beauty and authority … much to enjoy here’ (Fanfare, USA)

‘Stephen Layton is on a roll … his inspirational direction and choice of top soloists makes this a welcome addition to earlier recordings. The choir sings with their usual purity of tone and clear diction while the Academy of Ancient Music plays with convincing vigour in the sprightly double-dotted passages’ (The Observer)

‘The choir's firm tone and tightly disciplined singing, coupled with the Academy's polished ensemble and phrasing, are a considerable improvement on The Sixteen and O'Reilly's sometimes raw and slightly untidy performances … Emma Kirkby's contributions are unfailingly masterful. Her solo, backed by the choir, in HWV252's lyrical opening movement and in HWV254's gentle soprano aria, 'God's tender mercy', are high points of these performances, easily outclassing Christopher's two sopranos … the young countertenor Iestyn Davies also sings impressively’ (International Record Review)

‘Soloists and chorus alike excel in three of Handel's Chandos Anthems … the 40 members of the Choir of Trinity College, Cambridge, sing with flexibility and lightness … Emma Kirkby shows her stylistic intelligence and masterful communication of text in the opening of HWV252. It is enjoyable to hear some of Handel's lesser-known and more intimate church music performed with such elegant restraint and skill’ (Gramophone)

‘There is vintage Handel to be gleaned here … Layton offers luxury casting, Iestyn Davies and Neal Davies on particularly commanding form … the only thing missing on this disc are the words 'Vol. 1'. Such 'Handel with care' deserves nothing less’ (BBC Music Magazine)

‘Deborah contains some of the most glorious music Handel ever wrote. Even if many of the numbers have been recycled from earlier works, the invention is still staggering. Handel devotees can thus amuse themselves spotting the tunes while everyone else can revel in the sumptuous scoring and the sheer vitality and humanity of the piece, all superbly conveyed in Robert King's recording’ (BBC Music Magazine Top 1000 CDs Guide)

‘lt's impossible not to get caught up in the exhilarating flow of music. A must for all Handel lovers’ (Fanfare, USA)

‘Superb … the recording is another of these inspired ventures by Hyperion into music we ought to know better’ (BBC Record Review)

‘An important addition to the Handel discography. Handelians will revel in its rediscovery’ (The Sunday Times)