‘Strauss is so closely associated with the soprano voice that it is useful to be reminded how his rhapsodically lyrical style can be beautifully suited to baritone and bass too … both [Maltman and Miles] sing with great sensitivity and imaginative word-colouring’ (The Daily Telegraph)

‘Maltman has the lion's share, his molasses-rich lower range and walnut-polished upper melting into the ethereal Am Ufer and finding gruff humour in Das Lied des Steinkopfers. Alastair Miles' robust, sensitive bass excelts in Im Spätboot, perfectly capturing the eerie, dark atmosphere of Strauss's weary boat passenger’ (The Times)

‘Roger Vignoles is very impressive indeed, readily catching the mood of each item and particularly sensitive in each song's beautifully conceived postlude … both artists are equally impressive in the strongly characterised Junghexenlied. Kiera Duffy is also appealing in the gentler songs’ (Gramophone)

‘Duffy's is a bright, light soprano with a stylish sense of phrasing and some rapturous top Bs in her armoury … it's fun to hear [Vignoles] exuberantly unleash chromatic tricks and sideslips in Mein Auge and at the halfway mark in Herr Lenz’ (BBC Music Magazine)

‘Watts takes flight in this repertoire, her warm, generous soprano broadening into a luscious, creamy-toned wonder. Tonal glamour? You bet’ (The Guardian)

‘Watts has the full measure of the drama … she reveals herself as an accomplished Straussian throughout this recital and nowhere more so than in the very last song that the composer wrote, Malven, written for soprano Maria Jeritza in 1948 after he had finished the Vier letzte Lieder. A gift from one great artist to another and a fitting end to this admirable recording’ (International Record Review)

‘Vignoles plays the often extended introductions and postludes … quite magically, to say nothing of the extended interludes … my pleasure in this latest volume is without any reservations. Elizabeth Watts sings gloriously, rising fluently to the high tessitura of Strauss's melodic lines (immediately obvious in the first few songs included in the recital). Her beautiful voice, sensitive phrasing and response to word-meanings are consistently rewarding and her partnership with Roger Vignoles could hardly be more beautifully balanced’ (Gramophone)

'Like a photographer who works in black and white rather than colour, Dohnányi is a conductor whose interpretations bypass surface appeal and instead go straight to the music itself. The antics of medieval prankster 'Till Eulenspiegel' here scintillate throughout every section of the Philharmonia' (Classic FM)» More

‘A constant delight’ (Hi-Fi News)

‘Played with a controlled panache that adds extra fizz to the music’s already infectious gaiety’ (Classic FM Magazine)

‘The Gaudier Ensemble regularly wins rave reviews here and elsewhere. This disc easily sustains their reputation as ideal in every way. Sad must be the soul who would not be enchanted by this release’ (Fanfare, USA)

'Here's a husband-and-wife piano duo who make beautiful music together. In Stravinsky's duet reduction of Petrushka, Alessio Bax and Lucille Chung do not attempt to replicate orchestral dynamic levels. Instead they apply their effortless synchronicity to unlocking the music's pianistic potential, aiming for textural clarity and colouristic variety as they shape the catchy melodies with maximum lilt and characterful accentuation … superb annotations and engineering make the Bax & Chung Piano Duo debut CD all the more auspicious' (Gramophone)