Some of the songs are sensational…instrumentalists Like Green and Giangiacomo Pinardo are stellar, gracefully animating Spenser’s words. © BBC Music Magazine

[Hulett’s] light, perfectly tuned tone seems absolutely right for this repertory. His diction is impeccable, as is his effortless communication of the shape and phraseology of Spenser’s verse…Luke Green’s harpsichord accompaniments underpin the vocal line with delicate propriety…this recording succeeds on all fronts…it leaves me wanting to hear more of Benjamin Hulett and Maurice Greene. © International Record Review

Benjamin Hulett sings these songs with an engagement that certainly adds value to the literary subtlety of the text. The sonnets could be regarded as a little ‘dense’ to the modern ear, however he has succeeded in presenting the Elizabethan words in an attractive and engaging manner. No better can be demanded for a performance of these richly demanding sonnets. The other two soloists must not be forgotten. Luke Green plays the important harpsichord accompaniment and Giangiacomo Pinardi provides the accompaniment on the theorbo.

Remembered today mostly for his church music, Maurice Greene was one of the leading figures in British musical life in the first half of the eighteenth century, as can be surmised from his 20-year tenure as Master of the King’s Musick. Greene’s settings of 25 of the 89 sonnets of Edmund Spenser’s Amoretti, written in 1738, were originally written for soprano and continuo, but transfer seamlessly to tenor; here they receive impassioned and beautiful performances by Benjamin Hulett, whose limpid and agile voice is perfect for this music. Luke Green’s excellent harpsichord playing occasionally suffers from being too brightly recorded, but he and Giangiacomo Pinardi make an excellent continuo team, whose realisations both are tasteful and expertly matched to the varying moods of each sonnet. © 2012 Early Music Today