a triumph. It reveals the full splendour of Hasse's score, from tender lyricism to eye-popping virtuosity...Petrou storms his way through the score, pushing the artists beyond what seems physically possible. Cencic and Fagioli clearly relish the challenge, as does Lezhneva...Cencic eventually eclipess the rest of the cast, conveying Siroe's virtue with fierce bravura. Virtuosic also is the playing of Armonia Atenea.

Petrou achieves an elusive dichotomy of orchestral delicacy and theatrical pace. Reams of recitatives crackle with dramatic conviction...Cencic's impassioned performance of Siroe's first aria...indicates how much Hasse's style influenced the 'Classical' generation...Fagioli is aptly cast as Siroe's evil little brother...Parnassus Productions earns kudos for its adventurous ambition to record a complete Hasse opera to such a high standard.

Max Emanuel Cencic’s Siroe conveys both manly strength and vulnerability, his ringing upper register giving his performance a genuinely heroic character. I’m not convinced that Medarse is Franco Fagioli’s most successful role, since, although the technique is as formidable as we have come to expect, there is an element of excess in his portrayal of Siroe’s treacherous brother.

one of the finest recordings of the year...the entire recording crackles with the energy of a staged performance...Cencic radiates nobility and stoicism, whilst Franco Fagioli chews the scenery in the very best sense of the phrase...but Lezhneva pretty much steals the show...Siroe truly deserves to be ‘praised to the skies’, as Metastasio once declared with glee – as do Armonia Atenea and all concerned with this breathtaking recording.

the cast seems unfazed by the technical challenges, though there’s rather more bravura than refinement...the soprano Julia Lezhneva shows that it is possible to negotiate Hasse’s vocal writing with stylishness and beauty of tone as well as accuracy.