Purcell's remarkable “The Blessed Virgin's Expostulation” gave soprano Julia Gooding full reign to display both her dramatic abilities and the creamy beauty of her voice. The intensity of the repeated call for Gabriel was almost too much to bear.

Deryk Barker Times Colonist, Canada Oct 4 2004

Julia Gooding was superb in the lead role – radiant and characterful

David Allinson Sep 2004

Gooding is also a master storyteller. She sings with a rich, colorful sound, reaching easily from whispers to soaring fortes. Ornaments convey musical meaning in her interpretations and are folded smoothly into the vocal lines. A commanding performer, she brings drama and pathos to her deliveries without extraneous movement. The meaning is in the music and in her face. She sang Clerembault's cantata “Orphee” with a constant eye to the narrative thread, and gave a dramatic performance of Telemann's grim cantata “Ertrage nur das Joch der Maengel!”

Elaine Schmidt Milwaukee Journal Sentinel 7 March 2004

Soprano Julia Gooding's rare gifts add up to a complete singer: a discreet and darkish timbre, evenness of tone, remarkable agility, mature musicianship, and a shapely sense of phrase. Her blazing performance of a Telemann cantata was spine-tingling.

Rick Walters Shepherd Express Vol 25 Issue 11, 11 March 2004

The soprano Julia Gooding was shining throughout the whole performance. She has a beautiful voice, sang with great feeling and understanding and her articulation was immaculate. The highlight was the aria 'I know that my redeemer liveth' which got a very moving performance.

Johan van Veen Musica Dei Donum, Amsterdam Dec 2002

This English soprano's blend of passion, subtlety, technical control and perfect diction blew your socks off!

Martin Adams Irish Times 30 Oct 2002

Soprano Julia Gooding has a perfect voice (warm, slightly dark) and technique (agile, well-centered tone) for these songs... Gooding makes the most of each lovely melody, easily and naturally illuminating the texts with subtle, tasteful ornamentation and a knowing way with dynamic variation and careful phrasing.

David Vernier Classics Sep 2001

The vocal elements were sustained with captivating authority by soprano Julia Gooding (who possesses an admirably controlled voice with a timbre of burnished antique gold)...

Cesare Gall L'Arena, Verona 29 May 2001

Julia Gooding set the tone with “Et exultavit” - gorgeously reined-in, more girl- than matron-like...

Roderic Dunnett The Independent 25 April 2000

Ms Gooding... and Michael George... have fine early music voices. That is, they both produce a clear tone and are sparing but expressive in their use of vibrato. Ms. Gooding's tone seemed sweet and nicely controlled throughout her range.

Allan Kozinn The New York Times 5 August 1999

Gooding's purity of tone, steadiness in line, command of phrase and immaculate dynamic control in Handel's Salve Regina, together with the flute in Sweet Bird from Il Penseroso gave further evidence of her outstanding vocal attributes.

Donald Webster The Yorkshire Post 31 May 1999

Julia Gooding, whose creamy voice added richness to the ensemble, shone most of all as an alluring siren.

John Allison The Times 12 November 1998

The Tavener pieces were alternated with items of Purcell sung with impeccable style by Gooding...

Barry Millington The Times 3 July 1998