Franz Peter Schubert

“The coupling is apt, as is Dinnerstein's linking of the narrative, vocal quality in both the Schubert Impromptus and the Bach Partitas – the Schubert almost a singing symphony in its wonderful four linked movements, while the Bach's dance movements sound as if they could be cantata arias. What is less impressive here is the actual piano-playing – perfectly tasteful but really a bit stolid” The Observer, 4th March 2012

“tasteful almost to a fault, with its suggestive programme of Bach and Schubert, plus a title derived from Philip Larkin’s poem The Trees. What magic she weaves from the dancing counterpoint in her Bach partitas (nos 1 and 2), the notes sometimes reduced to two single lines. Bliss!” The Times, 17th February 2012 ****

“Schwarzkopf and Fischer make a magical partnership, with even the simplest of songs inspiring intensely subtle expression from singer and pianist alike. Fischer left few records more endearing than this, and Schwarzkopf’s colouring of word and tone is masterly.” Penguin Guide

“The Unfinished is superbly played, with the utmost refinement in the second movement … The Ninth is taut, mainly swift and ultimately exultant, with a splendidly vital scherzo” Gramophone Magazine

“Hampson’s reading is immaculately sung in smooth, warm tones, refined phrasing and naturally moulded diction.” Gramophone Magazine

“Maltman brings a light touch to 'Liebesbotschaft', beautifully complemented by the filigree of Johnson's accompaniment...The second encore, 'Der Winterabend', culminates in Johnson's right hand doubling and counterpointing the vocal line - magical.” Gramophone Magazine, March 2012

“Both singer and accompanist are on far better form, for me, than they were in Winterreise...These are direct, uncluttered accounts of songs of varying quality, and the deepest - 'Am Meer', 'Der Doppelganger' - get appropriately weighty treatment, while others, such as the last, are delightfully light.” BBC Music Magazine, March 2012 ****

“Maltman has a very beautiful light baritone voice and sings Schubert with undemonstrative perceptiveness and much musical intelligence...This is fine recording of Schwanengesang, the accompaniment occasionally somewhat insensitive but Maltman's singing hard to fault.” International Record Review, February 2012

“There's an uncompromising emotional rawness in Maltman's singing in Der Atlas, Die Stadt and Der Doppelgänger that make for very disquieting listening. But it's not all angst: he's sexy in Ständchen and humorous in Die Taubenpost. Johnson, meanwhile, is exemplary, reminding us throughout of the genius of Schubert's piano writing.” The Guardian, 8th March 2012 ****

“Maltman confirms that he is one of the most impressive baritone exponents of art songs currently before the public and, of course, he is partnered by one of the finest accompanists of our day, one who is steeped in Schubert’s lieder. Though there are many excellent CD versions of Schwanengesang in the catalogue this one joins the ranks of the very best.” MusicWeb International, June 2012

“It comprises 19 songs, all stylishly and beautifully sung by the tenor Werner Güra. The six Goethe settings include such familiar contrasts as Heidenröslein and Ganymed, while Willkommen und Abschied itself, more of a rarity, is heroically sung. The strength of Güra’s tone without any loss of quality has always been his strong point.” Sunday Telegraph, 29th January 2012

“His fresh lyric tenor combines well with Berner’s bright yet warm-toned fortepiano — he twinkles at Goethe’s ironic description of a water nymph as “eine feuchtes Weib”, literally a “damp woman” — while Berner brings drama to the piano parts of Auf der Bruck, Willkommen und Abschied and the haunting, yearning Herbst.” Sunday Times, 12th February 2012

“Berner, playing an 1872 Rönisch fortepiano, shows keen attention to every detail. Güra, outstanding in his unfussy, intense delivery, is a formidable, rousing guide.” The Observer, 26th February 2012

“Gura's strong, unaffected tenor voice is a pleasure to listen to, and Berner, who has an impressive keyboard freedom grounded in reliable technical skill, is a responsive accompanist: they perform as one, although too often their approach to a song somehow misses an essential quality of that particular piece of music.” International Record Review, March 2012 ****

“Gura and his fortepianist, Christoph Berner, have mapped out a trajectory of the Romantic view of human emotional life...At each stage, both musicians show perfect sympathy with Schubert's own engagement, ideal empathy with each other, and a shrewd sensitivity to musical and expressive scale.” BBC Music Magazine, May 2012 *****

“Gura is never dull. 'Der Wanderer' is intensely 'lived', the opening bleak and desiccated...One of the most eloquent performances of all is the last song, 'Nachtstuck'...Here, singer and pianist show an acute sensitivity to harmonic colour that characterises this whole rewarding recital.” Gramophone Magazine, May 2012