'Concierto de Aranjuez sparkles in the hands of Charles Ramirez. Even more impressive is the more virtuosic Elogio de la guitarra, where Ramirez sustains some fiendish fingerwork' (The Daily Telegraph)

'Ramirez is technically masterful, his tone rich, his musical ideas intelligent' (Classic FM)

'Guitar virtuoso Charles Ramirez is on supple, sensitive form on this collection of Rodrigo suites, accompanied on the Concierto de Aranjuez and Fantasia para un gentilhombre by the Chamber Orchestra of Europe, before closing with the solo piece Elogio de la guitarra. The 'Concerto' is the classical guitar composition par excellence, light and absorbing, with the spirited first movement giving way to the second movement’s darker depths before the pastoral closing section concludes on a positive note. The 'Fantasia' was based on themes collected by Gaspar Sanz, the seventeenth-century composer who helped establish the guitar as a serious instrument' (The Independent)

‘This is choral singing to a professional standard, and the choir makes light work of Rogier’s adventurous harmonies. As I mentioned, their articulation of the rhythms is impeccable, and their clear and unified sense of phrasing is expressed through subtle and wholly appropriate dynamic gradation. All in all, this sounds like a promising start to a collaboration between a choir worth hearing more of and a record label with an excellent track record of promoting such ensembles’ (MusicWeb International)» More

'A stunning display of unaccompanied part-singing by six consummate vocal artists' (BBC Music Magazine)» More

‘The balance between voice and instruments is good, and Gilchrist's recorded voice is present but not too close. Because of its instrumentation and the interesting choice of music, this recital is slightly off the beaten track in a very pleasant way, and listeners whose CD collections already traverse the high road of song literature will find this a worthwhile and enjoyable byway’ (International Record Review)

‘This wistful Anglo-French programme from the tenor James Gilchrist and the harpist Alison Nicholls offers tracks to savour … the Britten folk-song settings should never die’ (The Times)

‘Here's a refreshing summer issue. Tenor James Gilchrist, harpist Alison Nicholls and flautist Jaime Martin present a cocktail that has all the cool, clean refreshment of a glass of Pimms … Ravel's Cinq Mélodies populaires grecques, whose final brief 'Tout gai!' issues a warm, seasonal frisson’ (The Scotsman)

‘Roth has an ear for gracious, melodic vocal writing and his style is impressively cool and simple … Ravel's gorgeous Five Popular Greek Melodies … give a sense of Gilchrist's wide-ranging artistry, and also show what an excellent performer and accompanist Nicholls is on the harp’ (Classic FM Magazine)

‘Beautifully played here by Alison Nicholls. Gilchrist sounds quite at home in the Welsh songs … an interesting and intelligent singer, well served by his distinguished accompanists’ (BBC Music Magazine)

‘These are attractive works … the resources of voice and instruments are imaginatively exploited. And the performances are excellent. On the Hyperion disc Roth shares with Britten, Ravel and others, the whole working together as an unusual and delightful programme … Alison Nicholls, the fine harpist, writes informative notes for Hyperion’ (Gramophone)

‘James Gilchrist is one of the most expressive tenors of the day, his timbre soft-grained, his diction, immaculate, his lack of mannerism gratifying and his choice of repertory, on this disc of songs and song cycles with harp, interesting. Roth's Romantic Residues … is a setting of deft, touching verses by Vikram Seth, and a wonderful vehicle for Gilchrist's intimate eloquence. That quality is never more searching than in four Britten folk-song arrangements’ (The Sunday Times)