‘Stephen Hough and Andrew Litton cut a swathe through the decades-long undergrowth of bad tradition, revealing leaner, more potent works in the process … a terrific achievement’ (The Evening Standard)

‘Hough's melodic subtlety is well matched by conductor Andrew Litton, and even Rachmaninophobes will be won over by their Paganini Rhapsody’ (The Independent on Sunday)

‘Hough shares with Rachmaninov a precision, a rhythmic energy, a quite beautiful singing tone and—perhaps most important in these dense textures—an unerring clarity … a superb achievement, and that's all that needs to be said’ (International Record Review)

‘These are outstanding performances. The recordings capture the excitement of the live concerts, including applause at the end of the concertos but there's very little audience noise and the sound is thrilling and immediate. This is a release that's bound to win all the awards’ (Classic FM Magazine)

‘Stephen Hough is a pianist of immense finesse, who is incapable of playing a vulgar or exaggerated note. And he has a steely technique, secure enough to carry him through four live recordings—which these are—with barely a slip … this is a wonderful release … Hough and Litton are more than scholars: they make living, flaming music from the ebbing and flowing speeds, the soloist's improvisatory airs, or the strings' willingness to revive the old portamento slide. The waves of energy at the finale's end are very exciting: no wonder the Dallas audience break out in cheers’ (The Times)

‘This is the best set of Rachmaninov Piano Concertos ever recorded. You have no idea how hard I worked not to come to this conclusion, knowing full well just how skeptically such a claim is likely to be received. I compared Stephen Hough to multiple Ashkenazy renditions, to Earl Wild, to Zoltan Kocsis, to Argerich, Rubinstein, Richter, Rodriguez, and Horowitz. I ploughed through several obscure Russian recordings, two cycles on Naxos, and a slew of EMIs. I re-auditioned Pletnev and sampled two separate remasterings of Rachmaninov's own performances. I listened with scores, then waited a few days, and then tried again without them. I played these discs to colleagues, to friends, and to people whose musical judgment I trust as much if not more than my own. But the conclusion was inescapable: there never has been a complete cycle at this level of consistent excellence. There's no doubt about it’ (Classics Today)

‘These are exhilarating performances, freshly conceived and texturally pristine … with such committed advocacy and technical bravura, Hough's interpretations demand to be heard’ (The Sunday Times)

‘The freshness and joy in rediscovering well-worn masterpieces are everywhere in evidence in Hough's playing … if you think you have heard these pieces once too often, this is the recording to help you rediscover their intimacies and their emotional sweep’ (The Daily Telegraph)

‘Hough. Litton. Rachmaninov concertos. Hyperion. Already a mouth-watering prospect, is it not? So, like the old Fry's Five Boys chocolate advert, does Anticipation match Realisation in these five much recorded confections? The answer is 'yes' on almost every level’ (Gramophone)

‘Uniformly fine, sensitive and idiomatic playing and sound that alternately caresses and thunders as the music requires, this disc is a bargain … of all these fine works it would be impossible to imagine more satisfying performances than these … altogether a feast for the ears’ (Fanfare, USA)

«Le chœur anglais est superbe de recueillement et la prise de son valorise parfaitement la mise en place de l'ensemble» (Répertoire, France)

‘Hough. Litton. Rachmaninov concertos. Hyperion. Already a mouth-watering prospect, is it not? So, like the old Fry's Five Boys chocolate advert, does Anticipation match Realisation in these five much recorded confections? The answer is 'yes' on almost every level’ (Gramophone)