Samson – The Observer Review

Nicholas Kenyon, The Observer

No one can accuse the Dunedin Consort of doing things by halves. John Butt directs with vigour… while Dunedin regulars excel.

Read the full review here.

Samson – The Daily Mail Review

Brian Viner, The Daily Mail

This is the best we have yet had from John Butt and his Dunedin Consort of Edinburgh… both singing and playing are first-rate.

Read the full review here.

Samson – The Financial Times Review

Richard Fairman, The Financial Times

This recording breaks new ground as conductor John Butt bolsters the Dunedin Consort with members of Tiffin Boys’ Choir.

Read the full review here.

Samson – Early Music Review

David Hansell, Early Music Review

This release is unlikely to be surpassed – or even competed with – for some time.

Read the full review here.

Samson – Record of the Month – BBC Music Magazine

Berta Joncus, BBC Music Magazine

Performance ★★★★★

Recording ★★★★★

John Butt has created the best Samson ever.

Read the full review in the December issue of BBC Music Magazine.

Samson – The Scotsman Review

Ken Walton, The Scotsman


This is another John Butt spectacular, the ensemble’s effervescent director eliciting a performance that captures the emotion of Handel’s exceptional writing…

Read the full review here.

Samson – Editor’s Choice – Gramophone

Martin Cullingford, Gramophone

John Butt really does excel at these explorations of monumental major works; the performance is wonderful, while the level of historical and musical enquiry further enriches our appreciation.

Samson – Critics’ Choice – Gramophone

Richard Wigmore, Gramophone

Today… I’m plumping for Samson: for its superb solo team… its thrillingly immediate choral singing, and the mingled gravitas and theatrical urgency of John Butt’s direction.

Read the full review in the December issue of Gramophone.

Samson – Gramophone Review

Richard Wigmore, Gramophone

This new Samson now becomes the top recommendation: for its uniformly excellent soloists, its excitingly ‘present’ choral singing, and above all, its urgent sense of theatre.

Read the full review in the December issue of Gramophone.

Samson – Critics’ Choice – Gramophone

David Vickers, Gramophone

It is unprecedented for an unabridged Samson to nail its enigmatic challenges… [its] manifold musical details, incremental theatrical tensions, literary subtleties and emotional trajectory…

Read the full review in the December issue of Gramophone.

Samson – Musicweb Review

Simon Thompson, Musicweb

In short, this is superb, the best Handel oratorio I’ve heard in years.

Read the full review here.

Samson – BBC Radio 3 Record Review

Andrew McGregor, BBC Radio 3

As Samson, Joshua Ellicott navigates the tightrope between opera and oratorio really well … That’s one of the joys of Butt’s new recording, revelling in the dramatic colour of Handel’s imaginative scoring.

Listen to the full review here.

Samson – The Herald Review

Keith Bruce, The Herald

With the Consort’s best instrumentalists in place and Linn Records’ Philip Hobbs producing, this is an immaculate, and hugely important, recording. More prizes assuredly await.

Read the full review here.

Handel Ode for St Cecilia’s Day — Gramophone Review

Richard Wigmore, Gramphone

[Carolyn Sampson’s] poised, invariably graceful contributions are among the disc’s prime pleasures: from her radiant sense of wonder in the sarabande aria ‘What passion cannot music raise and quell!’, in dialogue with Jonathan Manson’s musingly eloquent cello; through the wistful ‘The soft complaining flute’, where Sampson veils her naturally bright tone (a word, too, for Katy Bircher’s poetic flute-playing); to the scintillating coloratura of her final hornpipe aria…

Read the full review here

Handel Ode for St Cecilia’s Day — AllMusic Review

All Music by Blair Sanderson

Such sunny numbers as the chorus, ‘From Harmony’, the tenor’s martial aria, ‘The Trumpet’s Loud Clangour’, and the famous March, with its popular trumpet solo, give a clear indication of the predominantly joyous nature of the Ode. The Concerto Grosso in A minor, Op. 6, No. 4, also composed in 1739, is an elegant filler piece that rounds out the disc, and emulates Handel’s inclusion of concertos and other music in the first performance of the Ode. Linn Records provides a robust and rich sound, and the forward placement of the musicians gives them remarkable presence in this 2018 release.

Read the full review here