‘Previously unrecorded, Morales's Missa Si bona suscepimus is performed here by The Tallis Scholars with passion, commitment, sensitivity and vigour. In all, this is the best sort of 'historically aware' performance’ (International Record Review)

‘Wwhat quality of nostalgia, and what depth of conviction … superb performances … Martineau’s carefully moulded accompaniments enhance a glorious enterprise’ (Yorkshire Post)

‘I must confess that, what with the beauty of Thomas Allen’s voice and the lovely accompaniment of Malcolm Martineau at the piano, a tear welled in my eye more than once. Another distinguished release from Hyperion’ (Liverpool Daily Post)

‘Hyperion here brings us Sir Thomas Allen caressing 29 well-loved parlour songs with his warm, expressive baritone … Malcolm Martineau provides his usual sympathetic and well-etched pianistic support’ (Birmingham Post)

‘A fitting tribute to this repertory that one of the finest operatic voices of our day has chosen to record it’ (Classic FM Magazine)

‘Other singers over recent decades have given the songs an airing from time to time, but Thomas Allen is the very man to do it’ (Gramophone)

‘With piano-playing by that most sensitive of accompanists, Malcolm Martineau, Sir Thomas Allen brings high art to these songs … with an affectionate regard to mood and feeling, and with a touching lyrical sincerity’ (The Daily Telegraph)

‘If you have a warm place in your heart for Glazunov then this new name should be right up your street. This to me completely unfamiliar music is presented with real style by Hyperion, by Brabbins and his orchestra and by the liner-note writer Tom Janssens’ (MusicWeb International)

‘If all three works pay tribute to Wagner in terms of musical landscape, they still have a voice of their own—and a pleasingly sonorous voice at that’ (Scotland on Sunday)

‘This is a fine orchestra, capable of silky smooth string playing where necessary, and excellent in all departments. Brabbins steers a clear path avoiding the mundane on the one hand, and the over-egged romantic hysteria on the other, and his orchestra, from the end result, seem to me to have enjoyed the music making hugely. These are no idle run-throughs—ensemble is tight, dynamics are carefully graded and the result is some intense music-making … this release is the first of a series, further issues in which I look forward to immensely’ (Audiophile Audition, USA)

‘Lush, melodic and romantic … the excellent Martyn Brabbins and the Royal Flemish Philharmonic have resurrrected the Wagnerian-Straussian tone poems … as for the grand, rhapsodic 'Homeric' Symphony, it's epic’ (The Observer)

‘Mortlemans' scoring is full of colour and drama … the music is vividly compelling … throughout the progamme, the richness of the orchestration readily holds the listener's attention, especially in such responsive performances from the Royal Flemish Philharmonic under the highly sympathetic Martyn Brabbins, well projected by a splendidly spacious Hyperion recording’ (Gramophone)