Avie

Christoph Croisé’s tone is warm and yielding, while Oxana Shevchenko proves a feisty and at times sensitive partner. — Gramophone Magazine, April 2024 More…

[Litton] and Pine seem to be of the same mind, homing in on the [Elgar’s] wistful qualities. One gets a strong whiff of melancholy right from the start…Pine’s interpretation is as emotionally... — Gramophone Magazine, March 2018 More…

I find nothing to criticize; these readings for me capture the spirit of Schubert’s piano style. His playing is at once natural and sympathetic, and blessedly free of artifice. — Fanfare, May/June 2021 More…

It’s all nicely played, but perhaps the best way to appreciate this album’s merits is by way of a track here and there, rather than as an end-to-end listen. — Gramophone Magazine, November 2018 More…

There's a real sense of engagement and fun about this performance. Sorrell's version of La Folia, scored by Vivaldi as a trio sonata, is nicely refreshed by her concerto grosso arrangement...This... — Classic FM Magazine, February 2011, 4 out of 5 stars More…

The excellent and inquisitive Israeli-born pianist Benjamin Hochman pays homage to Schubert with vibrant and stylish accounts — New York Times, 25th December 2013 More…

Phan's first, swelling note immediately establishes his refinement and steel, rare among Britten's recent tenors...Phan's sophistication is easily matched by harpist Sivan Magen...The tenor... — BBC Music Magazine, January 2013, 4 out of 5 stars More…

Fierce, fiery Bartók that engages from the start and Brahms that has real shape and drive, although I could have done with more yearning passion. — BBC Music Magazine, June 2018, 3 out of 5 stars More…

Joshua Habermann’s excellent ensemble are style chameleons, gamely tackling everything here from traditional Shaker hymns to smoochy gospel arrangements, astringent contemporary classical motets... — Gramophone Magazine, June 2018 More…