This King Arthur is a giddy triumph for its artists. Blazing their way through the score, the performers set a new benchmark, delivering a pruction that’s equally gutsy and gorgeous. ... Dance meters swing, and grand choruses are crisp and alluring. ... Director Lionel Meunier is the real star, with a soaring vision of Purcell’s music in a class of its own.  Berta Joncus (Opera Choice)

Vox Luminis, directed with a light touch by bass Lionel Meunier, turn their egalitarian talents to King Arthur (1691) and harvest the fruits of Purcell and Dryden’s collaborative imagination with affectionate lucidity. The band never sounds as small as it actually is – the single strings led adroitly by Cecilia Bernardini are underpinned by a bass violin (rather than cello) and there is no double bass, according to scholarly thinking about Purcell’s likely practices. ... The Frost scene in Act 3 has icy scraping from the violins to accompany the awakening of Sebastian Myrus’s precise Cold Genius (every shivering note in the right place); possessing a vivid vibrato, Sophie Junker’s swooping Cupid has a whiff of mischief as master of ceremonies; the arrival of the frosty chorus in need of love to warm them up is slower than Purcell probably intended but its characterisation aptly shows them ‘qui’vring with cold’. ... it has been decades since a recording of any of Purcell’s operas as enjoyable as this.  David Vickers