‘Continuo lacrimas, Vaet's gracious lament on the death of the composer Clemens non Papa, is a small masterpiece both in technique and emotional resonance … Cinquecento is an all-male vocal ensemble with members drawn from five European countries … the voices are young, lithe, pure in intonation and warm in timbre—in short, ideal for interpreting Renaissance polyphony. Their phrasing is supple, mellifluous and understated, while always alert to the musical rhetoric … no lover of Renaissance polyphony should overlook this outstanding début recording’ (International Record Review)

‘The singers cannot be applauded too highly for performances marked by an extraordinary insight into how this music should be tackled’ (The Good CD Guide)

‘This is rather special—the best record I have ever reviewed’ (Gramophone)

‘A wonderful selection … the music is a real delight … the singing is uniformly excellent and inspiring’ (Early Music Review)

‘You will never hear a more judiciously balanced, vocally better matched, nor technically more accomplished choral group than the 12-voice Brabant Ensemble. Founder/director Stephen Rice has assembled an exemplary company of voices aligned with repertoire that ideally suits the group's size and configuration. Combined with excellently recorded sound—from the Merton College Chapel venue favored by many choral ensembles—this production offers a program that's not only historically significant but that's worthy of repeated listening—intellectually involving, aesthetically pleasing, and emotionally engaging. How can you go wrong with that? Highly recommended!’ (Classics Today)

‘This is a beautifully conceived and exquisitely carried out program with much historical interest’ (American Record Guide)

‘The new works are undoubtedly significant additions to the repertoire. On that count alone this recording is self-recommending. An even greater name among the new additions is that of Tallis … the predominant sonority is familiarly clear, transparent and assured … for the sake of the new pieces alone, lovers of this repertory will welcome this enthusiastically’ (Gramophone)

‘At the heart of the sequence lie Tomkins's deeply expressive When David heard and Then David mourned, pieces in which the tension of the dissonances is relished by James O'Donnell's Westminster Abbey singers more fully than is often the case with English Choirs’ (The Irish Times)

‘This is good singing, and many choirs would envy the tight ensemble, impeccable intonation and crystal-clear diction, not to mention the unfailingly excellent solo voices drawn from the ranks of the choir’ (International Record Review)

«Remarquable élaboré, ce récital convainc surtout par la subtilité dynamique de 'interprétation, par la précision de certains jeux rhythmiques et la virtuosité chaleureuse de chacun des membres du consort. Un très beau programme» (Répertoire, France)

‘In Pictures at an Exhibition there's a question-mark about Llyr Williams's willingness to depart from Mussorgsky's autograph with rather more than the occasional bass octave doubling or re-spaced chord … Debussy's Estampes (Etchings), likewise, explore a Mussorgsky related world of sharp outline and atmospheric colour. Williams allows the music's brand of sophisticated spontaneity to speak memorably for itself' (BBC Music Magazine)» More

'A new recording of Pictures at an Exhibition is cleverly programmed here alongside works from Debussy and Liszt which enrich one’s appreciation of it. In the opening bars of Sposalizio, one of three Liszt depictions of Italian scenes included here, can be discerned forward echoes of Mussorgsky’s Promenade motif, while Debussy’s Estampes offer a trio of complementary visual treats on Oriental, Spanish and bucolic themes. Williams’s touch throughout is subtle but assuredly dramatic, shifting between the various Pictures confidently: the crucial aspect-shift in which the viewer is lured into the skull-strewn catacombs in Cum mortuis in lingua mortua allows the sombre mood to linger' (The Independent)