Geoffrey Mitchell Choir

All essentials for a recital are present here: the featured artist in good voice, imagination capable of bringing 13 different characters to life..., apt recording decisions and on-the-pace... — Gramophone Magazine, April 2010 More…

Of all repertoire operas, none gains more than The Magic Flute from performance in the language of the audience. Musically, the performance is hard to fault. Articulation is light and buoyant,... — BBC Music Magazine, June 2005, 5 out of 5 stars More…

The Immortal Hour is part of theatrical folklore: in London in the early 1920s it ran, unprecedentedly, for 216 consecutive performances and, shortly afterwards, for a further 160 at the first... — Gramophone Classical Music Guide, 2010 More…

This is an account of Così which seems to put momentum first. The opening chord, more ferocious than one would expect, gives way to a rattling overture, and tension and pace never let up. — BBC Music Magazine, May 2008, 3 out of 5 stars More…

Tomlinson, a favourite in the title-role at Bayreuth, now a veteran, is masterful as the Dutchman, exploiting his wide tonal and expressive range, with few signs of wear on the voice...[Stemme... — Penguin Guide, 2010, 4 out of 4 stars More…

Elder makes a persuasive case for Donizetti's early Romeo-and-Juliet-esque tale of warring families. — Katherine Cooper, Presto Music, June 2014 More…

Donizetti provides Parisina with one of his most plaintive arias in 'Sogno talor di correre' and a spectacular send off in Act III with 'Ora funesta!'. There's some exquisite orchestra writing…... — BBC Music Magazine, December 2009 More…

The glory of the Chandos set of Turandot is not just the spectacular, wide-ranging sound, bringing out details never heard before, but the singing of Jane Eaglen in the title-role, and here... — Penguin Guide, 2010 edition, 3 out of 4 stars More…