‘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

‘I’m most grateful to the Gould Trio for their committed advocacy of these neglected, often delightful works, and I’m eagerly awaiting the next instalment.’
– Gramophone

‘Christoph Poppen’s exemplary cycle seems only to gain in stature with each successive release … these crisply enunciated and robust accounts reflect the consistently high standards already attained by previous issues in this valuable endeavour.’
– BBC Music Magazine

‘It’s a very distinguished addition to the pantheon of Gerontius recordings, conducted by Collon with acute sensitivity to the tiniest nuances in Elgar’s score.’
– The Guardian

‘Performances of great character … a splendidly idiomatic performance by Han Chen … The Malmö Opera Orchestra under John Jeter is excellent throughout. The recorded sound is clear and warm.’
– The Strad

‘Both works are well led and played. In the Sauer especially, Oliver Triendl … seems to recreate the very approach one would have heard in the late 19th century. It’s romantic, charming in mood, and stylistically just right, embodying the atmosphere piano stars created back then.’
– American Record Guide

‘Luoma is an amazing virtuoso. His phrasing and articulation and musicianship are all impeccable.’
– Fanfare

‘“[Tetzlaff] easily dispatches every technical hurdle, offering brilliant technical dexterity and full-throated lyricism.’
– The Classic Review

‘Unhesitatingly recommended; this is vital, alive music of the first order.’
– Classical Explorer

‘Fazıl Say produces music as compelling and exciting as I’ve heard, and highly original as well from the Turkish influences that pervade it.’
– Fanfare

‘Georgian tenor Mikheil Sheshaberidze sings a powerful Nerone, hitting his high notes with confidence. Franco Vassallo lives up to his reputation as a great Verdi baritone, singing the role of Simon Mago with remarkable expressiveness.’
– Pizzicato

‘Placido Domingo bringing all of his expressive intelligence to the role of Canio … Glorious voices, vivid stage atmosphere and Adam Fischer’s pacing is excellent.’
– BBC Music Magazine

‘Emmanuele Baldini and Lucas Thomazinho are excellent musicians who serve this music well. I doubt that better advocates for it could be found.’
– American Record Guide

‘Having listened to this disc a few times, I am eager to hear more from one who seems yet again to be an unjustly neglected figure in twentieth century music. Bravo Naxos.’
– MusicWeb International

‘A keen ear for orchestral colour and effect is made the more evident by the beauty of the playing by the period-instrument L’Arpa Festante, the woodwinds especially. And the involvement of soloists of the calibre of the likes of Mauch and Poplutz is proof enough that this is a minutely considered, high-quality product.’
– Gramophone

‘Tadokoro is spectacular – a young pianist in the height of his power delivering a tremendous performance. His physical mastery of the instrument is regulated by great cultured taste, passionate devotion, guided with striving for the ideal.’
– American Record Guide

‘[Markham’s] recording is by far the best available of this repertoire.’
– Pizzicato

‘Let’s hope that Hrůša and the ORF Vienna RSO record more Kabeláč … which would add a lot to our understanding of this neglected Czech master.’
– Gramophone

‘A luscious album of orchestral works … Jaime Martín’s baton certainly supplies Spanish sunshine and vivacity; though we must also factor in the lively opulence of Ondine’s recording …[and the] commitment and verve of the Gävle Symphony Orchestra.’
– BBC Music Magazine

‘Finland’s finest chamber orchestra … this album marks yet another significant achievement, offering spirited, richly detailed recordings … Robust and vigorous, this boldly emphatic account brings this score fully to life.’
– BBC Music Magazine

‘Pietari Inkinen brings a violinist’s singing quality to Dvořák’s New World. He encourages what I would call an unaffected spontaneity to phrases we know so well but hope never to take for granted. There’s a virility about it, too – fire in the belly of the big allegros, a touch of the American outdoors that clearly chimed with the composer.’
– Gramophone

‘All of the cast are bought into Bieto’s vision, none more so than Julie Fuchs as Cleopatra, who sings and acts with a magnetic brilliance … Haïm is absolutely outstanding … the recorded sound excellent.’
– MusicWeb International

‘Laurent Pelly’s refined production is the ideal setting for Stéphane Degout’s debut as Onegin, carried to great heights by Alain Altinoglu’s passionate conducting.’
– Diapason

‘Francesco Cilluffo, a regular Ceresa collaborator, is a splendid advocate for Boito’s complex score, drawing out the opera’s sombre harmonies and brassy monumentalism, and the chorus of the Teatro Lirico make splendid contributions.’
– Gramophone

‘Opus Arte has not missed the opportunity to immortalise Cio-Cio-San at her best with soprano Asmik Grigorian … [who] once again disarms us with an impeccable performance, starting with a magnetic presence and stunning vocals … and a textbook dramatic development, never overdoing it at any moment.’
– Ritmo

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

‘This lovely exploration of artistry and genius has the right balance of talk and performance to spread the gospel of the keyboard.’
– The Flip Side

‘This is an occasion that should not be missed, as a recorded tribute to bel canto of such high quality does not appear frequently.’
– Ritmo