On the plus side, there's [Bostridge's] customary detailed attention to text; he uses some idiosyncratic tonal colouring to paint in its meanings, but the approach is always intelligent. He is at his most lyrically graceful in Die Kränze, and finds just the right level of tone for each phrase of Botschaft…but Liebesglut could do with greater tonal variety and Es liebt sich so liebliche im Lenze! with more warmth.

Those following the series have little need to hesitate, not least due to the reliably intelligent and sensitive accompaniment Johnson supplies…Bostridge's fans have no need to hesitate either, and the virtues of his distinctive Lieder-singing art are very much in evidence.

The British tenor’s vocal personality divides his listeners, but his commitment to German art song can’t be challenged. Brahmsians will want this volume of Graham Johnson’s continuing series, not least for his explanatory note...He sings the Minnelied, Op 71, No 5, with rapt intensity.

Bostridge is totally convincing, particularly in his wonderfully sensitive handling of the Op 96 collection. Johnson, that poet of the piano, underpins everything with just the right level of ardour – and he writes tremendous sleeve notes.