Aeon

This performance [of the Obrecht] is so well judged that it positively invites repeated listening...[Diabolus in Musica's] sound is quite distinctive; grainy, but not obtrusively so. — Gramophone Magazine, January 2013 More…

Both pieces reaffirm Dusapin’s quartet cycle as among the most significant now emerging. — Gramophone Magazine, August 2017 More…

His 1901 Steinway's clean dry sound enables even the most complex counterpoint to be luminous. Pescia's account is one of extremes: exuberant, athletic, dancing canons give way to reflective,... — BBC Music Magazine, December 2014, 5 out of 5 stars More…

Wolfgang Rihm has always acknowledged the importance of Luigi Nono’s music in the development of his own style. That influence comes across strikingly in this serenely beautiful sequence of... — The Guardian, 20th November 2014, 4 out of 5 stars More…

What a revelation this disc actually turns out to be. Lott's voice brings wonderful subtlety and intensity to the music, Isolde's death scene in particular. — Classic FM Magazine More…

In this short but expansively expressive opera, transformation is never one way: dramatically, dream is constantly morphing into nightmare and back...the eight-strong cast of singers seems utterly... — Gramophone Magazine, November 2012 More…

...a gestural work that, in Elizabeth Layton's crystalline performance, is also unashamedly lyrical...Volkov and the BBC Symphony Orchestra play with immense grace and finesse. — BBC Music Magazine, November 2010, 5 out of 5 stars More…