„Hearing her plush, aubergine-colored voice, coquettish and confident in the drama, one understands why she's in top demand for the role [of Carmen] … selections from Bellini's I Capuleti e i Montecchi and Rossini's La Cenerentola and The Barber of Seville show off her seamless agility throughout the registers, with ringing top notes and smoldering low ones. At 28, the young mezzo has a full career ahead, and opera fans will want to keep their ears open“ (NPR, Germany)

‘A 19th-century musical dictionary observed that if God ever listened to music for pleasure, the composer he’d pick would be Boccherini. Isserlis and the Orchestra of the Age of Enlightenment’s album doesn’t make the choice seem impossible. The music flows with a natural ease and a lively disposition, and often exploits the cello’s top register, requiring extra dexterity. No problem for Isserlis’ (The Times)

‘Listening to these performances, it’s obvious why Lim stunned audiences at the 2022 Van Cliburn piano competition, when he took the top prize, aged 18’ (The Times)

‘Music intricately composed and moments of the most tender beauty, delivered by seven male singers with an unflagging ensemble spirit’ (The Times)

‘Momen interprets this wonderful music with a natural ease never compromised by her myriad subtleties of dynamics, touch and tone’ (The Times)

‘Marc‑André Hamelin provides fresh insights into this work, a cohesive vision with a decidedly refined sensibility and evidence of decades of practice and reflection. This is a worthy addition to any collector’s library’ (ConcertoNet, Canada)

‘A finely crafted work from a composer who has an unforced, explorative post-romantic sensibility. Ngwenyama is herself an award-winning violist, and her feel for the medium and its instrumental interplay is clear from the opening 'Prelude: Tear in space/time’ … the Takács respond in turn with gentle vigour. Their performance is supplely committed, and laudably allows the music to breathe’ (BBC Music Magazine)

‘Whether solo, joined by HIP stalwarts such as violinist Rachel Podger or accompanied by the always marvellous Orchestra of the Eighteenth Century (which Brüggen co-founded), Horsch is as sensitive to each instrument’s idiosyncrasies as she is to the demands of the music, her effortless virtuosity and stylish phrasing, articulation and ornamentation a veritable Recorder Fancyer’s Delight’ (Gramophone)

‘Isserlis plays ravishingly throughout this recital. His tone is as luminous at the bottom as it is up top (and Boccherini spends a lot of time in the stratosphere). Although he’s partnered in the concertos by members of the OAE, Isserlis is no slave to scholarship: there’s plenty of vibrato in the solo line, and the result is wonderfully engaging … if you already love Boccherini, you’ll be more convinced than ever that he’s a master. If you’re a sceptic: well, prepare to be seduced’ (Gramophone)

„Sorgfältig zusammengestellte Programme und exquisite sängerische Darbietungen—das sind die Markenzeichen von The Gesualdo Six … intensiver, schöner und besser kann man die Lieder kaum singen“ (Fono Forum, Germany)

„Gerade mal zehn Jahre alt ist das reine Männerensemble The Gesualdo Six, doch flankiert ihren Weg schon eine Reihe von hochwertigen Einspielungen, die vor allem wegen ihrer Homogenität, Ausdrucksstärke und Farbigkeit allgemein gelobt wurden. Alle diese Attribute bietet auch „Queen of Hearts“ … Ein schönes und abwechslungsreiches Programm, das wieder einmal die Qualitäten des Ensembles in ein strahlendes Licht setzt“ (Fono Forum, Germany)

‘Another enjoyable curiosity: a programme of works for two pianos—with four or eight hands—performed by the MultiPiano Ensemble with the Berlin Radio SO conducted by Ivor Bolton … [the ‘Wanderer’ Fantasy] is tremendous fun, and the performance is winning … what could in less sensitive hands be quite a racket [the Schubert/Pauer marches] is a delightful way to end an enterprising project—these are all first recordings of these versions’ (International Piano)