Reviews

Peter Katin plays a square piano which has subsequently been restored. So the sounds he creates are as authentic as one could find. The work which comes off best in his recital is the G minor Sonata, Op. 7/3, which sounds so effective on the fortepiano. The slow movements of the F sharp minor, Op. […]

Clementi was a prolific composer for the piano, and as with a lot of prolific composers his output is variable. At its best, his work ranks amongst the finest music of his time; at its worst, it is best avoided. Small wonder, then, that there are a handful of sonatas which regularly appear on compilations […]

Glorious singing… she soars lustrously when she has to but she also finds a wide range of colour in these songs… vintage performances. Rachmaninov gains as much as Strauss from Cahill’s lustrous line and range of characterisation and Vignoles shows much superior pianism. Here is singing such as would surely have warmed both composers’ hearts. Excellent presentation, with notes on the music, singer and pianist, and original texts with English translations…Recommended with great enthusiasm

A delightful new album… [Richards] plays these timeless masterpieces with grace and passion, creating music that takes the listener to a peaceful haven far from the hectic pace of life

the interest here lies in the piano… the recording is admirably truthful. Peter Katin… produces an attractive singing tone

ravishing… an ear-tickling recital

The trios by Haydn get a good performance… The main interest of this disc is in the pieces by Stamitz, which – as far as I know – have never been recorded before, certainly not on period instruments. And considering their qualities, which are eloquently demonstrated by the interpreters, they are well worth listening to.

Well worth hearing… these performances have a gentility and modesty about them… perfectly matched to the music. The flutes are well balanced…the acoustic is suited to the repertoire… a perfectly pleasant disc… most diverting.

another delightful period-instrument performance. These pieces sparkle and sing…Holliday and Harrison play with accuracy and elegance. I do not think I can go back to playing this music on modern instruments. This recording has convinced me that the one-keyed flute is ideal

By and large, easy-on-the ear mood music. Undeniable appeal – ⭐️⭐️⭐️

Gifted classical guitarist.. highly accessible recital.. blends the familiar and the relatively obscure to excellent effect.

This is a very well filled CD. Section Three [British works] is perhaps the most fascinating … the whole presentation has been very carefully considered.

a compendium of saxophone marvels and a remarkable testament to the artistry of one of the instrument’s most persuasive interpreters

Even the pieces that lack any G&S connection are enjoyable and significant to an appreciation of the era when their operas were created. One caution: Set aside time when you can really listen to these numbers. This is not background music, but depends for its effect on listening carefully to every word: thankfully, all of the songs come across clearly, thanks to Leon Berger’s superb diction, even in the patter songs. He is to be commended for getting his arms around some very difficult material, most of which was written by, and for, a man of unique talents the likes of which we may never see again

the recording is clear and well balanced… the juxtaposition [with Sir Thomas Allen’s Hyperion disc] can be no greater recommendation of Berger’s performance… a very worthwhile addition to the recorded stock of Victorian songs and ballads

The melody man long neglected at home finds some champions in Estonia…marvellous melodies…quite delightful.. Mart Sander demonstrates…how well-shaped and heartfelt Monckton’s melodies could be. Mariliina von Uexküll’s sweet-toned soprano is no less winning…an enterprising and delightful issue

Delicious music…sheer joy. Full of gems, brilliant CD

This recording is a worthwhile collector’s item… This genre is so much a part of Britain’s heritage… a distinctive charm that should not be underestimated. This is an enjoyable and well recorded disc. I find the quality of the singing excellent with warm sopranos providing good expression, a distinctive tenor and resonant baritone, as well as the support of an excellent chorus.

All three stage comedies are presented as selections… the judgement is invariably astute and the selections are unjoltingly cleverly constructed. When it comes to The Arcadians’ song My Motter Sander proves a dab hand at Estonian Cockney and at playing the lush and Mariliina von Uexküll proves to have a fine, flexible voice with operatic-soubrettish quality (good coloratura as well) as she copes neatly with her tongue-twisting song Pipes of Pan – not easy to do even if your first language is English. There are plenty of opportunities for character singing and acting here and the orchestra has a good supportive opportunity in Arcady is Ever Young. The principals and band prove worthy ambassadors for this music. I recommend popping in to the Theatre Bel-Etage. You might even find Mart Sander there, twirling his cane.

The tunes are all attractive, the lyrics pleasant and sometimes even clever… [Theatre Bel-Etage are] a wonderful group… a personable group of principals and a very good chorus. I can recommend it as miles above the scores of musicals today. I found this set a breath of fresh air. You will too