‘Throughout this album Cinquecento are at the top of their game. Stylistically speaking, I would suggest similarities with The Hilliard Ensemble; the rich meld of lower voices creates a stable core to their performances and the subtle individuality of their voices allows for polyphonic details to be heard clearly at all times. Their countertenor, Terry Wey, is superb throughout, bringing a graceful ease to the top line. They have chosen to record in a generous acoustic which, despite warming their sound, does not obscure any of the finer details. The Mass is particularly attention-grabbing since it comprises many sections for three or four voices which are so skilfully managed that the full six-voice textures, when they occur, feel like a warm embrace. What I admire most from Cinquecento, though, is their sense of polyphonic momentum and on this album in particular they find a perfect balance of long-range phrasing with surface detail. The result is a sonically beautiful performance that holds my attention’ (Gramophone)

‘Two giants of the keyboard —sorry, make that three—Franz Liszt and Sigismond Thalberg from the 19th century, and Marc-André Hamelin from the 21st, intersect through time and music to yield us a resplendent pianistic tour de force … not only does Marc-André Hamelin merge [Hexaméron's] disparate styles seamlessly into one, but he also brings out the work's basic Italianate operatic flavor by focusing our attention on the melody at all times, even when that melody is buried under a blizzard of vociferous notes, arpeggios, and octave runs. Is there anything this pianist cannot do? A feast for the ears, from start to finish, for all piano enthusiasts. I'm surprised the piano was still in one piece afterwards. Highly recommended!’ (Classical Music Sentinel)

‘Both the solo viola’s effervescent and introspective qualities are brought vividly to the surface in a subtly graded and nuanced performance by Lawrence Power. By comparison, MacMillan’s Symphony No 4 at times resembles a supercharged concerto for orchestra, with each instrument given its moment to shine … the listener is taken on an eclectic journey that draws on everything from Renaissance polyphony to Mahler, Shostakovich and Andriessen. The transitions are smoother on this recording under Martyn Brabbins and the BBC Philharmonic’ (Gramophone)

'Een heel mooi gevoelig album. Sitkovetsky heeft een gelaagde stem, sensueel, expressief, lyrisch. De soms weemoedige en haast filmische melodieën brengt ze prachtig warm, zoals de klassieker ‘Vocalise’ en ‘Do not sing to me, fair maiden’' (Luister, Netherlands)

‘Stephen Hough’s playing is a delight. He has a superb technique and tosses off the most awkward passages with aplomb, but that is almost taken for granted nowadays, where so many pianists have fine technical skills. However, that is just the beginning; he observes Beethoven’s instructions closely, as for example in the differences between forte, sforzando and fortissimo or between staccato, semi-staccato and legato phrasing. He balances the often chunky chords with great care. Both he and Lintu offer very clean playing, often light and limpid, and Hough uses the pedal sparingly … the performances of the first three concertos are very good, but those of the last two are even better. In fact, I don’t know when I last enjoyed them so much … there are many excellent recordings of the Beethoven concertos, and listeners can usually please themselves with the choice of soloist, orchestra and conductor. However, if you choose this one you will be very happy with it. It is a winner’ (MusicWeb International)» More

‘It’s the Amy Beach Quintet that truly matters, and the Ohlsson/Takács team has given us a reference recording to savor’ (Classics Today)» More

‘These performances by members of the Nash Ensemble are full of fire and vigour, with no shortage of expressive nuance when called for. The recording is up to Hyperion’s high standards and the booklet has helpful notes … if you want to leave Robert Schumann and Felix Mendelssohn out of it, or simply want to explore some fine early romantic chamber music, this will do very well. I have been delighted to make the acquaintance of these fine compositions and can thoroughly recommend this coupling’ (MusicWeb International)» More

‘Cinquecento, five men from five countries, have made a happy habit of presenting choral works by little-known and even often forgotten figures. They have come up with many gems, and here they have largely done so again … there is some gorgeous singing here and the blend of the voices is immaculate and sensitive’ (MusicWeb International)» More

‘Looking for spiritual consolation in troubled times? Look no further. The Choir of Westminster Abbey could hardly have timed this release any better, coming at a time of lockdown when many of us are considering what really matters in life and looking for something deeper … the sound of the recording is part of what makes it special. For one thing, using boys' voices makes a massive difference—you definitely wouldn’t mistake these for adult females—and James O’Donnell’s shaping of the sound shows his familiarity with both the music’s shape and the tradition in which the composers were writing. Furthermore, the quality of the recording gives the music and more ethereal, slightly distanced feel. This is contemplation of the divine from a reverent distance, giving the music a spirituality that I found really compelling … it’s hard to imagine any ecclesiastical choir singing this music any better’ (MusicWeb International)» More

‘Ibragimova’s is a fabulous performance [of No 1] … Jurowski draws wonderfully dark, stark sonorities from his Moscow players: sample the great passacaglia’s opening and flinch, the basses and cellos really digging in. It’s one of the greatest movements in any 20th-century concerto, Ibragimova commanding and consoling by turns. Terrific … Ibragimova is superb in the last movement cadenza [of No 2], the lopsided dash to the finishing line as chilling as it is funny (listen to what she does 7’ 25” in, seconds before the final bars). You’ll need a sit down afterwards’ (TheArtsDesk.com)» More

‘Mahan Esfahani—he’s just such an amazing force and a polemicist for the harpsichord … because although he’s brilliant at Bach he refuses to let the harpsichord remain in an ‘Early Music’ box, and he’s a great commissioner and performer of new music … really good recorded sound as well … it’s brilliantly done’ (BBC Record Review)

‘Scintillating, no holds barred performances of both concertos by a Russian violinist, Russian conductor, and Russian orchestra … in every way, these accounts of two great Shostakovich concertos share in supplying a new library choice with those of Oistrakh and Vengerov. They are indeed a cause for celebration’ (MusicWeb International)» More