[Catherine King] has a beautifully clear and focused mezzo-soprano voice, naturally intense. . . . the whole is a very satisfying listening experience. The playing is all first-rate, the balance perfect, and Catherine King sings with genuine understanding of the poems. . . . a performance of poise and expressiveness in a programme of masterpieces
Robert Oliver, Early Music Review, April 1999
Catherine King . . .is the mistress of all she purveys, particularly impressive in the solemn songs (of which there are more than a few), enhanced by her skilful shading of timbre. . . . There is an air of appealing informality and shared "conversation" about the consort, whether alone or in support of the voice, and it is well served by the excellently balanced recording. Jacob Heringman, a most sensitive accompanist, shows himself as no less eloquent a soloist; his tone is good, his delivery is clean, and his use of rubato shows no trace of contrivance. . . . [H]ere is another disc to add to the growing number of fine recordings that reveal some of Dowland’s many faces.
John Duarte, Gramophone, September 1999
John Duarte, writing in Gramophone, January 2000, in the end of year "Critics’ choice" section, in which three Jacob Heringman CDs were chosen as among the best classical CDs of 1999:
Anthony Holborne has had a good year. Jacob Heringman, aided by Susanna Pell’s bass viol, reveals the variety of his music for lute, cittern and bandora in a beautifully played programme. . . . Jacob Heringman (again) is the sympathetic partner of Catherine King in a cross-section of Dowland’s lute songs, and of other instrumentalists in reduced consort versions of some items, as well as a "varietie" of lute solos.
Lindsay Kemp, same issue, same section, writes:
Two vocal recordings brought considerable pleasure: . . . a disc of seventeenth-century airs de cour from Catherine King, Charles Daniels and Jacob Heringman, though not hugely profound, was a real charmer.
Catherine King, the group’s mezzo-soprano, has a lovely tone that suits the plaintive mood of Dowland’s songs perfectly. She also seems comfortable with current thoughts on how English sounded in Shakespeare’s day, and she offers a primer on the subject in the first song on the disk, "Come again". . . . Instrumental alignments are assigned thoughtfully, and the group makes some interestingly offbeat choices. The bass flute, for example, brings an unusual timbre to "The Frog Galiard" and "Captaine Digorie Piper His Galiard". Equally novel is the use of the jangly, guitarlike cittern to accompany a tenor flute. . . .
Allan Kozinn, New York Times, 6 September 1999