'The boy treble voices bring lustre and freshness to the sonority, and the singing throughout is stirring and polished.' Telegraph
'The boy trebles are...radiant, the tone pious and reverential, and the sound...exceptional.' Bay Area Reporter (San Francisco)
'The famous choir appear to thrive under Andrew Nethsingha's management...the trebles provide some star soloists.' Gramophone Magazine
'Sheer flexibility and technical quality...which is caught in rich and precise sound.' Choir and Organ
'...an enticing blend of the familiar and unfamiliar.' 
Daily Mail
'Andrew Nethsingha knows how to fill every corner with grace and clarity...the choir sings suavely and radiantly without resorting to cathedral prissiness, a joy all round.' Classic FM Magazine
The music itself represents a time span of nearly 500 years of choral music. The earliest piece dates from the first half of the sixteenth century, and the newest was composed as recently as 2007. The styles and genres are varied, but there are clear links between the works throughout. For example, several are based on texts from the psalms, and the works by Pärt, Parsons, and Rachmaninoff offer three radically different interpretations of the Ave Maria. Some of the works also add a solo instrument to the familiar mix of voices and organ. But perhaps most importantly, all the pieces recorded here sit comfortably under the heading of ‘Popular Choral Classics'. Allegri's Miserere is counted among the great classics of church music. Part of its mystique stems from its origins; for many years the work was performed only in the Sistine Chapel, and as with other works tied to a single place it became an object for pilgrimage. In this case the pilgrims included Mendelssohn, as well as Mozart who famously noted down the work from memory after leaving the Vatican, thereby risking excommunication by the Catholic Church. This new release also features Stanford's Jubilate, which was written for Trinity College, Cambridge. Intended as part of the service of Morning Prayer, it has long been one of the most popular canticles in the Anglican repertoire. In keeping with the text, Psalm 100, the tone is festive throughout. Martin Ennis