‘This is an easy pick: a recording that’s not just an outstanding performance, but also one that explodes so many myths about 20th-century British choral music: what it is, what it should be and how we should listen to it. Everything about its operatic intensity, symphonic scope and sheer expressive abandon is thrilling’ (Gramophone)

‘Liszt and Thalberg dominate this recital of opera transcriptions, joining hands in Hexaméron, a 20-minute sequence of variations by several composers on a theme by Bellini, as compiled by Liszt. Marc-André Hamelin grabs every chance to seduce and dazzle the listener. As he does during the remainder of this stimulating, dramatic and lyrical programme, including Thalberg’s re-working of Don Pasquale motifs—piano does bel canto. Perhaps the highlight is Liszt’s Paraphrase on Ernani (Verdi), music with greasepaint, not as familiar as his Réminiscences de Norma (Bellini), which Hamelin brings off with trademark panache and style, for which he’s as focused on the music, intensely projected as well as poetic, as he is the technical requirements. There is also Thalberg’s take on Rossini’s Fantaisia en Moise, slight if charming. With excellent sound, and Francis Pott’s booklet note to open the curtain and set the theme, this is a very recommendable release’ (Pianist)

‘A feast of Renaissance repertoire is featured, ranging from the ringing carillons of Sweelinck's Hodie Christus natus est to the searching introspection of Victoria's O magnum mysterium. The 50-strong oratory choir is made up entirely of boys, and conductor Charles Cole draws singing of vernal freshness from them, with excellent ensemble and an interpretive awareness that puts many an adult choir in the shadow. This is a warmly recommended recording’ (BBC Music Magazine)

‘The effect is impressively mature and well blended, the bright, sweet top-line sound balanced to and shaped by the lighter lower voices. You can hear their flexibility in the contrast between Scheidt’s Puer natus in Bethlehem and Sweelinck’s double-choir Hodie Christus natus est, the disc’s arresting opener—all fizz and crisp, forward delivery—and Mouton’s Nesciens mater, its cloudy skeins of counterpoint drifting in the air like incense, the trebles softening the edges of their sound, allowing much more breath to flow through it … the choir has obviously grown and developed since 2017, and if the Christmas collection is typical of things to come, this should be an interesting project to keep an eye on’ (Gramophone)

‘The Schola Cantorum are at home in the softer draping of Guerrero’s counterpoint, revelling in the gentle sensuality of his Ave virgo sanctissima and his lyrical O sacrum convivium’ (Gramophone)

‘These are among Tavener’s most powerful works. They are magnificently performed … a deeply moving disc’ (BBC Music Magazine)» More

‘The latest instalment in Martyn Brabbins’s RVW symphonic cycle for Hyperion brings as dedicated, articulate and lucid a reading of the great and glorious Fifth as one could hope for. The apt pairing is the 1906 incidental music for The Pilgrim’s Progress, worth experiencing for the ‘Angel’s song’ alone’ (Gramophone)

‘Martyn Brabbins and his musicians generally give a glowing and contemplative account of Vaughan Williams Fifth Symphony (1943), its colours well captured in producer Andrew Keener’s fine recording’ (BBC Music Magazine)

‘Martyn Brabbins’s Vaughan Williams symphony cycle continues to go from strength to strength with this impressively cogent, self-effacing Fifth, a reading notable for its unhurried demeanour, clarity of texture and orchestral playing of conspicuous finesse and lustre. Enhanced by sound at once glowing and transparent, the first movement grips from the off; indeed, there’s an enviable wholeness, lofty integrity and sureness of purpose that effortlessly hold the listener … a rather special release, this, and emphatically not to be missed’ (Gramophone)

‘This is by a country mile the finest Goldberg Variations I’ve heard, on any instrument, since Angela Hewitt’s (also on Hyperion: what’s their secret?!) … Kolesnikov’s playing sparkles throughout … the sensitivity of Kolesnikov’s touch meets a sharp intelligence of approach and a determined refusal to follow convention for its own sake. Also, his ornamentations are a total delight throughout: they never sound self-conscious, but instead casual and relaxed; deeply considered but sounding as though touched out with remarkable ease. Structurally, he observes all the repeats, but he sounds so natural that, unlike in one recent recording, I stopped paying attention to them after a while and lost myself in the sound. It’s beautifully presented, too, with a brief note from Kolesnikov himself, an excellent essay from Richard Wigmore, and artist biography. In short, this disc is completely marvellous: a wonderful musician giving his fresh take on a timeless masterpiece, beautifully played and captured in excellent recorded sound. If you want a modern Goldberg Variations on a piano with digital sound, then there is no reason hesitate’ (MusicWeb International)» More

‘With this almost valedictory recording, The Tallis Scholars complete their monumental nine-disc project to record all of Josquin’s Mass settings … The Scholars’ sound is lean and clear: every strand of the musical web is beautifully illuminated, and the text is carved with a sculptural sharpness … a mesmerising final chapter to this unforgettable musical odyssey’ (BBC Music Magazine)» More

‘This 57-strong choir of boys and men makes an absolutely heavenly sound. There is purity in the tone, exquisite balance across the voices, and a magical empathy with this programme of 15th and 16th century polyphonic motets which set texts relevant to the seasons of Christmas, Epiphany and Candlemas … Cole himself is a superbly gifted choral director, moulding and shaping his choir into a conglomerate whole which makes a sound which is both deeply satisfying and infinitely stimulating. If only every disc of Christmas music was this distinguished in content and performance quality’ (MusicWeb International)» More