Phantasm here offers the same flawless playing that has earned its members consistent, well-deserved accolades. Despite the brooding nature of the music, their sound is luminous and tempos are... — BBC Music Magazine, September 2016, More…

The singing is technically polished, the tuning faultless and the overall sonority rounded and rich. — Choir & Organ More…

Spem is literally a surround-sound piece, so this recording, the first to use the latest technology in new audio formats, gets closer than most. The Sixteen (enlarged to the requisite 40) have... — Gramophone Classical Music Guide, 2010 More…

This is likely to become one of your most cherished discs. It's notable for its spacious depth of sound, volatile unpredictability of interpretation, and above all the soaring sostenuto of the... — Gramophone Classical Music Guide, 2010 More…

[In Spem in alium] Parrott's sure touch tells in the form: the first entry is clear and confident...the first Mexican wave spreads inexorably, the arrival on the second tutti rings out like a... — Gramophone Magazine, February 2010 More…

Short finds a musical dramaturgy to match that of the text. The Requiem is written for six voices, but this choir of 20 never seems lumbering or unbalanced. They are perfectly tuned (listen to... — BBC Music Magazine, June 2011, More…

The instruments transfigure much of this music. They do the heavy lifting for some of the choir parts in the Mass and Ecce beatum lucem, contribute to the spacious sonorities, and add delicate... — BBC Music Magazine, April 2011, More…

Despite four wonderful volumes of Monteverdi's sacred music from The King's Consort, nothing will prepare you for the ecstatic consequences of taking seriously at least one aspect of Monteverdi's... — Gramophone Classical Music Guide, 2010 More…

The sound image is compelling on its own terms, with the homogeneity typical of ensembles with countertenors on the top lines. But it's a flexible interpretation nonetheless...an involving experience. — Gramophone Magazine, December 2013 More…

Emanuela Galli (Euridice/La Musica) is splendid in voice and emotion and Mirko Guadagnini (Orfeo) is arresting in the low-lying lamenting sections of Act V but rather dry in the upper range. — BBC Music Magazine, October 2007, More…