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Lina Tur Bonet on a Nicolò Amati violin has a wonderful smoky yet clean-toned elegance to her sound which I love, and harpsichordist Dani Espasa is the perfect foil on his delicately ringing... — Gramophone Magazine, February 2020 More…

[An] imaginative account of Vivaldi’s masterpiece which bursts with vitality. Conunova can conjure a sublimely gorgeous tone, but is also adventurous in her use of timbre without ever seeming... — BBC Music Magazine, February 2021, 4 out of 5 stars More…

[Rousset’s] is a grounded, incontestably considered reading, exuding a quiet, unflappable authority reminiscent of Gustav Leonhardt…he untangles Bach’s protean polyphony with the informed illumination... — BBC Music Magazine, July 2016, 4 out of 5 stars More…

There is effortlessly flowing momentum throughout these performances – such as the irresistibly lovely chaconne in ‘L’Impériale’ and the closing gigue of ‘La Piémontaise’, each played with gently... — Gramophone Magazine, June 2019 More…

[The arias] are particularly suited to the pellucid, languid sensitivity and affecting charm of Watson’s voice, which always displays an ability to colour text with an understanding of the nuances... — Opera, February 2020 More…

The singers are generally good. Camille Allérat brings a passionate voice to the role of Dido (though occasionally with unsteady vibrato), and Renato Dolcini as Aeneas inserts drama into the... — BBC Music Magazine, Christmas Issue 2022, 4 out of 5 stars (Performance) / 3 out of 5 stars (Recording) More…

Junker’s voice seems perfect for this repertory. She has the range and tone that fits the lines, though her various melismas can sound a bit sloppy at times, and the ornaments are not always... — Fanfare, May/June 2021 More…