‘This CD is another very successful piece of work from Laurence Perkins who has always remained individual and characterful. The playing is full of commitment and I recommend it highly. The recording quality from the Hyperion team at the wonderful Wyastone Concert Hall is excellent throughout’ (Double Reed News)» More

‘A beautiful reminder that tops can be tails and ends hold beginnings’ (Gramophone)

‘Meaty listening’ (The Times)» More

‘All in all, this is a highly recommendable, varied selection from Bizet’s under-valued oeuvre … played by a master stylist’ (Gramophone)

‘This recording is a real treat and a splendid addition to what is already an imposing catalogue … the combination of clarity and balance of this Hyperion recording, revealing details one often bypasses or simply does not hear, along with the vibrant choral dimension, is a very persuasive aspect’ (Gramophone)

‘Binns has an uncanny ability to absorb and convey the character of a vast array of music; whatever he plays is marked by both sympathy and commitment … this release should simultaneously boost both your spirits and Binns’s reputation. The restorations are expert – a special boon in the Rubinstein and Alkan works … fine commentaries by both Gramophone’s Jeremy Nicholas and APR’s Mike Spring only add to the festivities’ (Gramophone)

‘Marc-André Hamelin’s technical finesse, textural variety, linear organisation and expressive intelligence bring life and meaning to the unique pianistic aesthetic of Godowsky’s Passacaglia, setting reference standards for listeners and pianists alike … in short, Hamelin’s Hyperion recording remains a top recommendation’ (Gramophone)

'Prosseda is een meester-verteller, die de kunst van het doseren door en door beheerst' (De Standaard, Belgium)

‘Lim's sincere, searching voice and powers of communication always come across in a performance well worth hearing’ (Gramophone)

‘Lim's luminous tone belies his years: it's hard to credit he was all of 21 when giving this performance in New York's Carnegie Hall … the close recording gives away no hint of a live audience while complementing what is fundamentally an intimate address to the cycle: again, you could almost forget (unless actually playing it!) that here is some of Bach's most showy and extrovert keyboard writing’ (Pianist)

‘The 21-year-old pianist gives a fine, muscular account of the Goldbergs, with touches of playfulness, in this live recording from Carnegie Hall’ (The Guardian)

‘Dazzling accounts of Russian ballet transcriptions … boy, does he succeed … his ability to carry off a grand gesture (those breathtaking scales! those arpeggios!) shows him to be a real creature of the theatre. The Sleeping Beauty Concert Suite is as infused with dance, romance and joy as any version I've heard’ (Pianist)