‘Boesch's performance demonstrates huge imaginative variety in characterisation … in such ways, Boesch emulates Loewe's own reputation, singing to his own accompaniment, as an 'actor-singer'. Vignoles matches him in playing of perception in what is pretty well an ideal introduction to a fascinating figure’ (BBC Music Magazine)

‘There is no better introduction to this great song composer; there are scarcely any more perfect song recitals on disc’ (Classical Music)

‘I cannot recommend this disc highly enough. It positively radiates intelligence and wit in performances of consummate musicianship. A truly delightful gallimaufry!’ (MusicWeb International)

‘Catherine Bott, dextrous in Baroque and earlier repertory, weilds a light, winning touch as she ranges with pianist Davis Owen Norris through British music-hall songs, Gershwin, Joyce Grenfell ditties and recent Jonathan Dove’ (The Times)

‘Listen to what Bott and Norris make of the Gershwin standard A Foggy Day and you'll believe that the age of miracles hasn't passed!’ (International Record Review)

‘Catherine Bott's versatile, light soprano is wonderfully entertaining in this wide-ranging London related album’ (The Evening Standard)

‘Best of all is the Joyce Grenfell number, Joyful Noise, putting her own delicious slant on a number one would have thought no one but Joyce Grenfell could bring off’ (The Guardian)

‘Bott can transform herself from robust campanologist in Walton's Rhyme to high camp in Kit and the Widow's irresistible Wimbledon Idyll; from folk singer for Ewan MacColl's Sweet Thames to waif-like Victorian music-hall songstress in While London's fast asleep … the gently circumspect soft-focus of this recital will doubtless be, for many listeners, all part of that illusory charm of London Town’ (BBC Music Magazine)

‘Catherine Bott, totally unexpected in lighter twentieth century repertoire, divulges new facets of her talents … Noel Coward's London Pride closes the album on a subdued but heroic note, leaving us in admiration of singer and pianist in one of this year's most enjoyable discs to have come my way’ (Fanfare, USA)

‘Sumptuous performances all’ (The Sunday Times)

'Excellently transferred from 78s dating from 1939-59, this selection ranges from Liszt’s early exuberance to the grim-faced austerity of his final years, and throughout you will hear playing of a peerless scintillation, patrician command and a poetic engagement known to few pianists' (Gramophone)

‘Vocal effects including susurration are used by the 40-year-old Polish composer, but it is the emotionality permeating every syllable of his religious settings that is the most impressive. The singers' performance is immaculate’ (Classical Music)