‘From the tinkling registral changes in the Allegro ma non tanto of the Concerto in A major, BWV1055, to his tantalisingly paced cadenza in the opening movement of the Concerto in D minor, BWV1052—and the ensuing fabulousness of his trill—Esfahani exhibits a mastery of large-scale swing and fastidiously shaped, expressive detail. There’s something utterly enjoyable about the squeeze achieved by Esfahani’s pacing and legato of the central Siciliano of the Concerto in E major, BWV1053. Then there’s the frenetic joy of the closing movement of the Concerto in D major, BWV1054; Esfahani transforms into a slot machine spilling over in jackpot celebration. Yet Esfahani is at his swirling, angsty best in the concerto’s opening movement: the current of energy (beginning in the section at 2'08") remains undeterred all the way to the recapitulation and its crashing octaves’ (Gramophone)

‘As was the case with Gerhardt’s performances of the Shostakovich concertos, his well-nigh flawless solo playing is closely observed … the generous old-school annotations are a definite plus’ (Gramophone)

‘Musicians are big on postcards … but none are as beautifully written as those by Stephen Hough, a reliable scribe wherever he is in the world … a joy to receive through the letterbox’ (Gramophone)

‘The present premiere recording [De profundis] reveals a substantial 24-minute canvas of blazing eloquence, unfailing craftsmanship and communicative power … I can report that David Temple obtains outstandingly dedicated results from everyone involved, with soprano Sophie Bevan soaring thrillingly to her climactic top B in the refulgent closing pages. Mike Hatch’s sound, too, possesses striking definition, richness and depth … an irresistible proposition’ (Gramophone)

‘Musical magic … but the biggest surprise is kept for the final piece. The hilarious Five More Minutes (Sardine Armpit) sees percussionist Joby Burgess, Arcappellago and The Sardine Ensemble deliver a crazy Balkan-dance-like number possessing all the Dionysian grit and flair of Rosalía and Björk’s performance of ‘Berghain’ at this year’s BRIT Awards’ (Gramophone)

‘Fox’s singing is consistently lovely, with the familiar silvery gleam in her upper registers much in evidence … Forés Veses and the Castile and León orchestra are excellent here, meanwhile, with some immaculately shaped playing, the strings lean yet beautiful, the woodwind gracious and elegant … it’s a fine album, thoughtful and enjoyable in equal measure’ (Gramophone)

‘Now on three CDs, these five long-unavailable LPs recorded between 1958 and 1960, and issued only in the US, were made for the short-lived Kapp label. They are something of a holy grail among devoted pianophiles. In fact, I had heard so much about Ann Schein’s 1960 recording of Rachmaninov’s Third Piano Concerto that I went straight to that, the final three tracks on disc 3. I have to say that if this performance had been made for a major international label at the time (Decca, HMV, RCA) it would never have left the catalogue. It is quite marvellous … the playing throughout is of the most exalted kind and includes, for this reviewer, the most persuasive account of Chopin’s Polonaise-fantaisie he has ever heard, together with a selection of Chopin Études recorded the previous year that stand with the best … this valuable reissue is topped off with a superlative booklet from Jonathan Summers. Were there still a category for historic recordings, this would be a shoo-in for a Gramophone Award. Once more pianophiles are in the debt of APR’s Mike Spring. Ann Schein was reportedly delighted when told these recordings were to be given a new lease of life. Sadly, only a few days before a copy could reach her, news arrived of her sudden death at the age of 87’ (Gramophone)

‘The mood is sustained, consistent and unruffled by contrast: meditative classical, posh chill-out. Thing is, it’s also absolutely beautiful singing, and taken on its own terms this is the launch of a serious ensemble’ (Gramophone)

‘The Queen’s Six, now in their refreshed line‑up with altos Elisabeth Paul and Tom Lilburn replacing the original countertenors, bring to this repertoire the seamless blend you’d expect from singers who share not merely a concert platform but a postcode within Windsor Castle’s walls. Indeed, their daily proximity to the Chapel Royal tradition lends these performances an unforced liturgical gravity … the ensemble’s account of Byrd’s Cunctis diebus—that great motet of interior exile, with its sudden homophonic outcry at ‘Dimitte me’, at once desperate and vast—is tremendously affecting, the harmonic shifts navigated with the sureness of singers who know this idiom from the inside … booklet notes are exemplary, as is the recorded sound. A fine release worthy of our own troubled times

’ (Gramophone)

‘This enjoyable album, say The Gesualdo Six in the sleevenotes, represents the 'smorgasbord' of music with which they first went on tour back in 2015. And so, we get a cappella secular works from the likes of Byrd and Josquin in the Renaissance—though, surprisingly, no Gesualdo himself—to composers writing today. The vocal agility, character and superb blend that has made the group such a success in those 11 years is on display throughout’ (BBC Music Magazine)

‘Enough waffle: these are hugely enjoyable performances, superbly balanced … concertos have rarely sounded so upbeat … this is a wonderful, set, stylishly played and directed, beautifully recorded and very well annotated’ (TheArtsDesk.com)» More

‘Alban Gerhardt takes another route through the emotional landscape of the [Elgar] to the famously passionate performance of Jacqueline du Pré and others. Gerhardt emphasizes nobility, dignity, the poetry of Elgar’s writing, and conductor Andrew Manze and the West German Radio Symphony Orchestra bring breadth and soul to their sound as well. It’s a similar story in the Dvořák Concerto that follows, manifesting Gerhardt’s determination to go back to the sources, the scores themselves, rather than absorbing the Romantic performing tradition of these two great masterpieces. I think it’s refreshing’ (BBC Record Review)