‘This disc once again proves that we know only a tip of the iceberg of renaissance polyphony. Hardly any music by Cleve is available on disc, which is surprising considering its excellent quality, and the importance of Cleve in his own time. Cinquecento has done any lover of this kind of repertoire a great favour by delivering such superb performances. Like I said, it is one of the main ensembles in this repertoire, and their status is well deserved. These five voices blend perfectly, and the singers show a supreme command of legato. At the same time, they do everything necessary to make sure that the text is clearly understandable, even in pieces with a dense texture. There is some fine and effective dynamic shading, and particularly crucial episodes are nicely emphasized’ (MusicWeb International)» More

‘Kreisleriana, it could be argued, is far and away the most challenging of the cycles. While Hough’s approach is supremely lyrical, he is especially adept at capturing the sudden, unsettling shifts of tone and mercurial mood swings with which Schumann evokes ETA Hoffmann’s fictional character, Johannes Kreisler. This vivid portrayal of madness could only be achieved by the utmost restraint and poise. Poetic moments are heightened by tasteful asynchronicity of the hands and Schumann’s polyphony is lovingly delineated. Embarking on the great C major Fantasie, we are transported to a realm of almost ideal beauty. Hough’s various rubato strategies seem infinitely calibrated, each aptly suited to a specific emotional circumstance, while the attention to voice leading so prevalent in Kreisleriana is here redoubled to marvellous effect’ (Gramophone)

‘This is the finest modern recording of the Symphony I have heard … a triumph for all concerned. We should be grateful’ (MusicWeb International)» More

‘A terrific pianist (Georgian by nationality, b1992) with all the colouristic and stylistic attributes one could wish for allied to a formidable technique, the kind of musician whose artistry is like a compelling novel where you can hardly wait for what comes next … performances that lovers of high-octane pianism will want to snap up … superbly recorded and performed with such distinction, this release must be an early Awards nominee’ (Gramophone)

‘The redoubtable Howard Shelley once again proves himself the piano world’s St Jude: the passionate advocate of the Romantic concerto repertoire’s lost causes. The pianist’s nuanced and sweeping phrasing, his wide dynamic range and his perpetually singing tone convey both urgency and nobility to the point where he convinces you that this is great music. He also elicits hearty playing from the Tasmanian Symphony Orchestra, with balances that bring the winds and brass to the forefront … Shelley’s persuasive performances are self-recommending to those who’ve been steadfastly collecting each volume’ (Gramophone)

‘The famous rondeau Ma fin est mon commencement (‘My end is my beginning’) is especially pleasing in this thoughtful, clear performance. The Orlando Consort bear Machaut’s virtuoso writing lightly and keep the text clearly in the foreground … also of note is the solo-voice ballade Dame, se vous m’estes lonteinne (‘Lady, if you are distant from me’), with its familiar theme of unobtainable longing offering a moving moment of repose, beautifully sung by Matthew Venner, whose mellow countertenor tone infuses this album with warmth. Another wonderful and fascinating instalment in this impressive series’ (Gramophone)

‘Entrancing … the proficiency and careful training of men and boys is obvious throughout: this is without doubt cathedral standard … the Schola Cantorum brings riches galore’ (Church Times)» More

‘Cole and his polished ensemble—and Hyperion—spring many surprises. You would have to hunt to find Ribera, Esquivel, and Vivanco (sensationally sung) all on one disc. Melchor Robledo’s interspersed plainsong—was there ever a more tender Ad te clamamus?—are just perfect. The rest of the disc—exemplary Victoria included—is of the same quality’ (Church Times)

‘A remarkable new voice, fresh, clear and warm, with a rare response to the text and incredible intonation. Oh, and there’s Graham Johnson’ (BBC Record Review)

‘A disc that grabs you by the ears and rivets you to your chair and has you breathless with exhilaration. There’s a rawness to Ibragimova’s sound that cuts to the heart of the music, and the orchestral playing is equally dramatic … it does exactly what Shostakovich at his most devastating should do to you’ (BBC Record Review)

‘This disc is a valuable addition to any collection of Christmas music. I have greatly enjoyed this disc, and I am sure you will enjoy it too’ (MusicWeb International)

‘An overwhelming, emotionally accessible triumph [Mahámátar] … premiered just a few days after Tavener’s death, [No longer mourn for me] is a sublime work of tenderness and beauty and it concludes what will surely become a classic album by Isserlis and his gifted team, an essential part of this extraordinary canon of spiritual work’ (Morning Star)