‘…beg, steal or borrow this sumptuously packaged Nielsen collectible…’
– Gramophone

‘Sibelius’s ultra-virtuosic Violin Concerto demands stellar qualities from its soloist. James Ehnes has them all, and then some – vast technical firepower, full-on richness of tone without technicolour gloss, phenomenal tuning and a likeable artistry that’s direct, unpretentious and instantly responsive to every musical situation.’
– BBC Music Magazine ★★★★★

‘…a scintillating account…’
– The Guardian ★★★★★

‘It’s top-tier in every way.’
– Fanfare

‘Throughout Ehnes’ performance, his part is consistently well-directed and impeccably characterful, his reading ever alive to the music’s shifting states of atmosphere…’
– The Arts Fuse

‘…evocative scores of Margaret Brouwer, a composer urgently to be discovered, highlighted by the great Marin Alsop.’
– Crescendo

‘Marin Alsop and the Vienna Radio Symphony Orchestra play these scores with energy and abandon. The result is a disc I can recommend highly to listeners with a willingness to explore unfamiliar voices.’
– Fanfare

‘Committed performances and the fine, transparent Naxos recording make the strongest case for a composer whose music will, I suspect, enjoy wide appeal.’
– MusicWeb International

‘With the help of his Danish Chamber Orchestra, Adam Fischer aims to recreate some of the highly charged atmosphere of those early concerts, encouraging his string players to use considerable variety of attack… and pulling of some daringly quick tempos.’
– BBC Music Magazine ★★★★★

‘Coro Casa da Música sings the Lopes-Graça works with arresting beauty, exquisite balancing of voice parts, and admirably clear diction.’
– Fanfare

‘They [Gould Piano Trio] give the pieces recorded here exactly the right amount of conscientiousness in their performance that emphasizes the qualities and charm of the two trios, but also does not assign them unnecessary importance.’
– Pizzicato ★★★★★

‘A proven master of large forces, Sir Mark Elder brings everything tautly together, conducting with verve, skill and precision.’
– MusicWeb International

‘…exemplary in virtuosity, phrasing, and expressiveness…’
– Ritmo

‘This release marks a highlight of the Naxos Brazilian series, and is strongly recommended.’
– Fanfare

‘The result is 80 impeccable minutes, where – to put it in French – j’ai trouvé mon Bonheur.’
– Musica

‘…the whole enterprise gave me enormous pleasure. It is also the CD set that has visited my sound system more often than any other during this past year.’
– MusicWeb International

‘…Alexandre Dossin’s two-volume project on Naxos – the first recording of Walker’s complete piano works by the same artist – commands attention. That his interpretations are informed by such deep empathy for this challenging music makes these albums indispensable.’
– Gramophone

‘Even the quietest passages have an absolute clarity that is a credit to both the players and the producer, Norbert Kraft.’
– AllMusic.com ★★★★★

‘Baritone Hans Christoph Begemann is an excellent Lied singer. Klaus Simon’s accompaniment could not be more appropriate or finer.’
– Pizzicato ★★★★★

‘What wonderful, individual symphonies these are!’
– Fanfare

‘…a world of repertoire and life packed into a short recital. It’s a portrait of an artist who has shown us many faces on those 100 discs but whose voice remains a constant: sweet, flexible, alive to the text. And always intelligent.’
– Gramophone

‘This is the kind of playing that feels organic and seems to know no ceiling when it comes to expressive intensity.’
– Gramophone

‘…an awe-inspiring experience through headphones that mightily conjures the scale and tectonic force of Adams’s ambition.’
– The New York Times

‘The spectacular resonances and gritty sonorities that the Russian pianist can evoke here add a wild element to the flamboyance of her playing.’
– Classica ★★★★★

‘Good old-fashioned virtuoso fun! Recommended.’
– Fanfare

‘When it comes to defining American music, Pacifica Quartet’s new recording offers some welcome food for thought.’
– The Arts Fuse

‘I’ve been obsessed with this 1897 Octet… I’m eternally grateful to clarinettist Graeme Steele Johnson, who discovered the manuscript in the Library of Congress and who leads this exquisite performance.’
– Gramophone

‘With her well controlled, velvety and highly sensitive voice, [Christina Baader] explores the compositions with great sensitivity, revealing their dramatic content, their emotions…’
– Pizzicato ★★★★★

‘Markham’s playing is light and colourful, with an agogic variability and dynamic nuances that enliven the polonaises and make them extremely attractive.’
– Pizzicato

‘Given the dour subject and Lenz’s tragic existence, the result is a stark drama clothed in appropriately straight-down-the-line modernism; but it possesses integrity in every bar, the composer’s extraordinary technical skills making it dense but rewarding.’
– BBC Music Magazine ★★★★★

‘…Hakkinen’s broad perspective, his ability to detail the music without compromising its unity, deserves to be praised.’
– Diapason ★★★★★

‘Remarkably balanced, using precise tempos and a sensitive palette of dynamics that avoids any heavy-handed effects, the duo formed by Janne Fredens and Soren Rastogi eclipses the few existing recordings…’
– Diapason ★★★★★

‘The interpretation is thoughtful and relatively subdued, an approach I like very much, as it admirably suits the pathos of Haydn’s sublime music. This is just another way of saying that these players are thoroughly musical.’
– MusicWeb International

‘ETHEL and Loggins-Hull shape performances that are keenly alive to each sound world. The composers, including Loggins-Hull, can only be thrilled with the results.’
– Gramophone

‘Vicéns possesses an impressive command of late 20th-century classical techniques and practices…’
– MusicWeb International

‘Diyang Mei presents both compositions with eloquent assurance and a musically mature vision.’
– Pizzicato ★★★★★

‘The St. Louis Symphony is hot, hot, hot – over the top, but in a first-class, tuxedoed manner.’
– Fanfare

‘…a stunningly well-thought-out production from Amsterdam of Engelbert Humperdinck’s opera Königskinder…’
– MusicWeb International

‘…Lawrence Brownlee gives the performance of his career in the title role. An interpretation of intense physicality combined with gorgeous singing.’
– MusicWeb International

‘Apart from the Vienna Philharmonic being in a state of true grace, it’s hard to highlight what stands out most in this performance…’
– Ritmo ★★★★★

‘…Alfredo il Grande has quite a bit going for it when presented, as it is here, with intelligence, insight, imagination and an occasional touch of tongue-in-cheek humour. …it offers an enjoyable theatrical experience and usefully expands our knowledge of the composer’s early output.’
– MusicWeb International

‘…thanks to the use of videos and the direction of the actors, there’s never a dull moment, and the splendour of this score is savoured…’
– Classica ★★★★★

‘Saul is one of Handel’s most popular oratorios, and director Barrie Kosky, with his overflowing talent, fills his production with successes from the very beginning.’
– Ritmo

‘Martinů has laid music that blends learned and vernacular elements (notably Orthodox chants), influences from Czech and modernist music, all unified in a language of intoxicating originality, exalted by Maxime Pascal, who leads the Wiener Philharmoniker with a gesture that is both rigorous and generous.’
– Diapason