‘…the Accentus release marks a milestone, and must be commended for its colossal ambition to revive a hallmark of operatic historicism from near-oblivion.’
– Opera Wire

‘A stupendous achievement… Vladimir Jurowski conducts with appropriately military precision and playing and singing are superb, the chorus magnificent…’
– Opera Now ★★★★★

‘Inspirationally conducted, fantastically played and stunningly recorded, this new Mahler Seventh demands the attention of all Mahler devotees.’
– MusicWeb International

‘…smooth, dry-eyed luminosity that sustains a gently haunted air.’ – The New York Times

‘Capriccio displays a knack for plugging notable gaps in the catalogue, not least Charles Koechlin, whose First Symphony went unheard for three decades and only now receives its first recording. Complex and luminous, its assured realisation by Ariane Matiakh duly reaffirms her place among the leading conductors of her generation.’ – Gramophone

‘This is very definitely Want List material. There is nothing to fault here, from recording and production to booklet to those performances that never flag in their perfection for a single second. As if I needed to say it, urgently recommended.’
– Fanfare

‘Mature authority reigns imagination disciplined by the score; poise throughout.’
– Gramophone

‘…an immersive listening experience that breaks with conventions and opens up new perspectives on music.’
– Opus Klassiek

‘…this is a terrific compendium of new music of the best sort: the kind that’s brilliantly written, expressively direct, played with assurance, and engineered with clarity and warmth. Recommended without hesitation or reservation.’
– The Arts Fuse

‘…excellent… an imaginative programme… It is well-played and certainly my kind of music.’
– MusicWeb International

‘All these melodies are impressively and idiomatically recorded. They are charming and light, with always appropriate colours and moods. The Divinerinnen know how to let this simple music be exactly what it is – simple, lilting, sophisticated and absolutely delicious.’
– Pizzicato ★★★★★

‘This entire disc is a pleasure to listen to whether you’re familiar with the operas and melodies or not. Mr Miceli’s playing is brilliant and often spectacular. I was so satisfied with this that I immediately played it a second time.’
– American Record Guide

‘…Morlot and the Barcelona orchestra weave a tapestry of sound of great delicacy, subtlety, sensitivity and sensuality for the voice.’
– Pizzicato ★★★★

Shortlist, The British Audio Awards

‘…this is one of the best Florence Price collections around.’
– Fanfare

‘A new and captivating stage in the rediscovery of Loewe.’
– Diapason

‘The level of music-making presented here tells its own story. This is a Sibelius recording that’s up there with the finest of any era… strikingly imaginative – Christian Tetzlaff’s top-drawer solo playing caps a remarkable release.’
– BBC Music Magazine

‘…there is a great deal of marvellous music… Scottish Opera…does a superb job with the presentation. …this recording is an exceptionally fine one that is well worth repeated hearings for the sake of gaining familiarity with some worthy and still largely neglected works.’
– Infodad.com ★★★★

‘…captures everyone at the height of their powers, and in good sound. The Canio is Placido Domingo in very best voice and living in every moment… Domingo hits vocal magnificence beyond requirements.’
– Opera Now ★★★★

‘…deeply moving, expressive, and inspirational playing…Johansen’s playing is breathtaking, but more, it’s achingly beautiful.’
– Fanfare

‘…a striking new release that brings together flavourful Pan-American rhythms, Latin jazz and Nordic big band traditions. The album, primarily composed by Pérez, celebrates improvisation, experimentation, and cultural unity, offering a rich set of global jazz influences.’
– World Music Central

‘The combination of beautiful vibrant music, stunning playing, and thoughtful interpretation by Höör Barock, and the soloists, augurs well for a highly entertaining musical experience.’
– MusicWeb International

‘Tönjes performs the songs with all the means at her disposal, with a vocal style that encompasses the entire dynamic range, a rich palette of vocal colours, and a decidedly creative breathing technique. Her singing is impeccable, highly expressive, and comes into its own with the piano part.’
– Pizzicato

‘…an erratically bubbling potion – a sense highlighted by his asymmetric deployment of pizzicato – from disparate styles and moods, all of which slosh unexpectedly yet cogently together.’
– Gramophone

‘The musician…presents the delicate, elegant sounds with artistry and subtlety. Her interpretations are almost sensual, emphasizing the almost fragile sounds of this music…’
– Pizzicato ★★★★

‘There is so little life-enhancing contemporary music but all the works here are just that and I most definitely finished listening experiencing a glow of pleasure.’
– MusicWeb International

‘Pietari Inkinen’s beautiful, transparent, and detailed interpretation of Dvořák’s Ninth Symphony is on display.’
– Pizzicato ★★★★★

‘Chiara Cattani…embellishes the music extensively and appropriately, playing freely. It is an enjoyable adventure to hear what she makes up.’
– American Record Guide

‘I am very impressed with the performances. Every player is immersed in the style, and the ensemble is tight and dynamic. The sonics are equally fine. Recommended.’
– Fanfare

‘There is something simply magical about this music, the way the sound of the solo violin can seem to float above the orchestra, the way the orchestra can swoon and sigh. Magic…’
– Classical Candor

‘Like some finely engineered antique clock that still keeps perfect time, Herbert Blomstedt’s flawlessly paced account of Bruckner’s Ninth Symphony – recorded live in the Bruckner church of St Florian in Upper Austria on the occasion of the conductor’s 97th birthday is a collectors’ item of rare worth.’
– Gramophone

‘…a truly remarkable film about a remarkable artist. …The careful framing of the shots and pacing of the “action” are immaculately accomplished.’
– MusicWeb International

‘The performances are very good across the board. Ludovic Tézier is a very strong Macbeth; his “Pietà, rispetto, onore” is stunning. He’s well matched by Martina Serafin as his wife who goes convincingly from connivingly evil to cracked. She has power and excellent coloratura. They sing well together too.’
– operaramblings

‘…Loriana Castellano sings with coppery mezzo tone, while Lucia Cirillo’s Irene, Tamerlano’s fiancée, ignites the vocal fireworks… it’s an entertaining romp through some enjoyable Baroque music.’
– Gramophone

‘…an hour of great pianistic richness.’
– Ritmo

‘a deep dance dive into McGregor’s unique ballet fusion.’
– ConcertoNet.com ★★★★

‘The performance is led by a truly compelling performance from Bogdan Volkov as the gentle, epileptic Myshkin. Not only does his sweet, plangent tenor cut through the fullest of orchestral washes, he creates a touching and thoroughly believable portrait of this wide-eyed, caring innocent.’
– Limelight