‘Tonal quality is unimpeachable and at no point does [Giltburg] allow Rachmaninov’s emotionality to overflow.’
– Gramophone

‘With this excellent recording from Opera North, Capriccio has added an important cornerstone to its Weill edition.’
– Preis der deutschen Schallplattenkritik (German Record Critics’ Award)

‘A piece as arresting and memorable as this, and with such clear relevance to our own troubled times, really needs to be widely seen… fundamental is Bollon’s handling of timbre… Michael Borth is a marvellous Erasmus… gentle but resolute, passionate yet reflective.’
– Opera

‘…The Quartetto Adorno and Alessandro Marangoni pull together and conjure up truly enchanting atmospheres.’
– Pizzicato

‘[Brantelid] does not crave the spotlight, which he prefers to leave to the music. This attitude gives rise to expressive, intense, and profound interpretations…’
– Pizzicato ★★★★

‘The excellent interpretations by the London Symphony Orchestra under Rafael Sanz-Espert bring Fritze’s music to life in all its sonority.’
– Pizzicato ★★★★

‘Throughout the recital, pianist Elizabeth Haughan proves herself an exceptional guide: her pacing is extraordinary, her playing always sensitive, and she brings out the drama inherent in every pause, every accent, and each harmonic twist and turn.’
– Fanfare

‘Theodor Kullak’s generously proportioned Symphonie de piano is performed in a highly rhetorical, finely nuanced interpretation. …[Fediurko] interprets the Andante with just as much sensitivity as the Scherzo.’
– Pizzicato

‘Williamson’s genius is that he plays these arrangements of mostly orchestral pieces as if they were always piano pieces… This is a master class in Lisztian piano style and another winner…’
– American Record Guide

‘Every aspect of the singing and playing throughout is praiseworthy …this series warrants a top recommendation for the Mozart masses; enthusiastically recommended.’
– Fanfare

‘The revelation here is the scintillating performance of Sara Blanch in the title role.’
– MusicWeb International

‘…The clarity of the spacious recording is impressive, as is the idiomatic interpretation of violist Gabriel Marin in the Concerto, alongside the Goiás Philharmonic Orchestra and its conductor, Neil Thomson, making it unreasonable not to recommend such a carefully produced result.’
– Ritmo

‘…A fresh, vivacious and affectionate performance of this endlessly lovable opera.’
– Gramophone

‘I was thrilled and beguiled by [Cannestra’s] vivid playing. His bold playing is perfect for the grandeur of the sonata and the brilliance of the dances while finding delicacy and a fluent singing line in the barcarolle.’
– MusicWeb International

‘…A magnificent recording…which gives hope for further recording projects of this kind.’
– www.klassik.com

‘Packed with varied, sophisticated sounds and colours, it’s a magical piece, superbly realised.’
– BBC Music Magazine

‘…A fascinating rediscovery… the voice is at all times individual, the technique rock solid, and the musical imagination entirely of a piece… a performance of such authority and commitment.’
– The Strad

‘…Rustles of arpeggios, buzzing birds and bees, a dancing scherzo… The Kaleidoscope players dispatch this with great verve and elan…’
– BBC Music Magazine ★★★★★

‘…This is a chamber music recording that will reward many hearings, and for those interested in music by women, it is absolutely essential.’
– AllMusic.com ★★★★★

‘Stratigou plays with such grace and elegance that people unfamiliar with Farrenc might guess the music to be by anyone from Mozart to Mendelssohn.’
– American Record Guide

‘The duo’s inspiring piano playing has lost none of its expressive power. Their interpretations of Debussy’s work are also ground-breaking in the final production, showcasing an immensely rich palette of timbres and a sensitive, yet never sentimental, impressionistic style.’
– Pizzicato ★★★★★

‘…This well-presented album with informative notes by Juan Gómez Alemany becomes an essential reference. Highly recommended.’
– Ritmo

‘A genuine winner!’
– Gramophone

‘At just under thirty-five minutes the playing time can be viewed as a little short, but happily Ellas Kapell uses the playing time wisely in seeking quality over quantity.’
– Classical Explorer

‘Bertini delivers beyond my expectations…and up until the end, everything makes for an enjoyable listen.’
– Classical Explorer

‘The ensemble’s members sing gloriously – whether sumptuous tone or fleet coloratura is required… [Mehta] gives a notably sensitive reading and seems completely at one with his singers throughout.’
– Opera

‘Lively, intelligent, puzzling, wrong-headed: you will be entertained and moved, and the double act of Ying Fang and Maria Nazarova is life-enhancing.’
– Gramophone

‘The high level of this performance becomes apparent from the outset in an aria for Almuzir, sung beautifully by young Korean lyric tenor Konu Kim. …over three hours of music doesn’t drag, and the credit goes to Zanardi for knowing how to pace the opera.’
– Fanfare

‘Given Kim’s acting abilities this is no mere cardboard villain. This is a most impressive performance.’
– MusicWeb International

‘…Danced to the highest standard on this occasion…This well-filmed performance now becomes the top recommendation for watching Swan Lake at home.’
– Opus Arte

‘Prokofiev’s brilliantly incisive score is both wonderfully realized and recorded. Asmik Grigorian, a superb actress who produces beautifully floated vocal lines with exquisite ease… Sean Panikkar’s Alexey is a high intensity achievement.’
– Opera