‘This is a spectacular cycle, graced by some sensational singing’ (International Record Review)

‘This is a superb issue, with the engineers capturing the full sonority of the choir, orchestra and soloists to perfection and with diction being as clear as crystal throughout’ (MusicWeb International)

‘Nocturnes creates a complex and strange beauty that doesn't sound like any other composer. Yet for all its musical intricacy, the work has a direct and powerful emotional impact—not the impact of a scream, but of an intimate whisper that cuts right through you. Listening to these pieces repeatedly, I find my tough, old heart filled with both wonder and gratitude’ (The Slate, USA)

‘What more can one say of the singing other than that it is Polyphony? This ensemble—surely one of the best small choirs now before the public—invests everything it sings with insight, crisp ensemble and tonal warmth’ (The Daily Telegraph)

‘I hold these truths to be self-evident: 1) Rainer Maria Rilke was a genius. 2) Morten Lauridsen is a genius. 3) Lauridsen’s a cappella setting of Rilke’s Contre qui, rose is one of the most singularly beautiful pieces of vocal music in the history of Western Civilization. 4) Polyphony’s new Hyperion recording of Contre qui, rose is a Record To Die For. (The rest of the disc isn’t too shabby, either’ (Stereophile)

‘This second, secular anthology is, if anything finer than its predecessor, elevated by the heavenly work of all concerned with its making, and the compelling eloquence of Lauridsen's sublime music … Polyphony’s love for words and music register with unwavering conviction … Stephen Layton's grasp of the polished idiom and his innate musicianship crown this essential release, which under his direction speaks directly to the heart’ (Classic FM Magazine)

‘This is music of the utmost fragility and nostalgia and one has to take profound care with the harmonic gentleness and hidden nuances of these unique treasures. All singers and instrumentalists lend wonderful support with the contributions of Robin Blaze and Elizabeth Kenny particularly arresting. Another excellent issue for the Lawes discography which as expected is beautifully recorded and presented’ (Classical.net)

‘This is a magnificent disc … it compels interest and feeling throughout … listening to this CD encapsulates this experience of a vanishing supremacy. Beauty, transience, mourning. Et in Arcadia ego. Robin Blaze is by now the doyen of English counter-tenors, Elizabeth Kenny a fine luteinist (as well as universally loved in her profession). Blaze sings with magnificent diction; Kenny’s lute-playing is expressive and sympathetic. The supporting cast, especially Rebecca Outram (soprano) is also excellent … this Hyperion production is the real thing’ (MusicalPointers.co.uk)

‘This is a valuable anthology, carefully conceived and lovingly executed … Robin Blaze is heard mostly at his considerable best … the true foil to Blaze's eloquence is Kenny's sensitive and fluent lute’ (Gramophone)

‘I find it impossible to imagine better exponents of this idiomatic music than Robin Blaze and Elizabeth Kenny. Blaze has many gifts: not only a perfectly-tuned and controlled voice, but one that is intrinsically beautiful, and an unsurpassed vehicle for English words … Kenny backs him up perfectly, providing a great deal more than simply accompaniment: like Blaze, she can paint every note in a different colour, contributing enormously to the story-tellng and to the beauty of these performances. The dark tones of her theorbo are a wonderful support to his voice. She also contributes scholarly and fascinating programme notes’ (Early Music Review)

‘Blaze's countertenor voice is unfailingly a delight to hear in this quasi-Italianate repertoire’ (International Record Review)

‘This excellent CD highlights the unjustly neglected musical legacy of two of England's most influential seventeenth-century composers … the appeal of this recording … lies in the ensemble's sensitivity to the poetry that is at the foundation of this music. Furthermore, it is not only Robin Blaze and his trademark musical eloquence that makes us truly feel the poignant nuances interwoven into the tapestry of the Lawes songs. In Kenny's hands, her instruments speak with equal persuasiveness, creating a rich continuo texture that amplifies and extends the music's emotional content’ (Goldberg)