“The interpretation of the concerto, especially the cadenzas, but also the understanding between the soloist and the orchestra, was superb.”

South Wales Argus, October 2017

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“He has his audience hooked from the very first note ... it's all there: a meltingly warm, smooth tone, an easy virtuosity, a captivating musical temperament and a direct eloquence, as if speaking through his instrument.”

Die Welt, January 2015

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“Michael Petrov plays with the bravura and calm assurance of a long-established maestro. At his recent performance of Shostakovich’s 1st Cello Concerto at the Barbican Petrov dominated the orchestra effortlessly.”

The Daily Telegraph (Ivan Hewett), June 2014

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“The most beautiful moments happened in the slow movement, in which the Russian (Alexander Sitkovetsky) seemed to make time stand still without over-stretching it. Together with the effervescent woodwinds he allowed (the music) to radiate with brilliance. It was music, that was almost on a higher plane.”

Mitteldeutsche Zeitung (Johannes Killyen), October 2018

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“Breathless silence was followed by enthusiastic applause and loud bravos – the audience in the Kaisersaal of Schloss Corvey applauded frenetically after a stunning performance of Dvorak’s Slavonic string quartet by the British Albion Quartet, which brought the festival to a close.”

Neue Westfälische (Burkhard Battran), September 2018

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“These Royal Concertgebouw Orchestra musicians bring a terrific style and panache to this irresistible new disc. They receive an excellent, well balanced SACD recording from the Concertgebouw, Amsterdam and there are useful booklet notes.”

The Classical Reviewer (Bruce Reader), March 2016

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“Janácek's Mládi (Youth) is droll and quicksilver, exuding a capriciousness that these players revel in. Scored for wind quintet plus bass clarinet, the flautist doubling on piccolo, Janácek's colour chart and very active interweaving of ideas is vividly brought out ... Superb performances, superbly recorded.”

Classical Ear (Colin Anderson), April 2016

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“I’d trust the violinist who wedded works by Roy Harris and John Adams on one of the most absorbing concerto discs for many years, to bring us interesting repertoire, and that is exactly what Tamsin Waley-Cohen does here. [Richard Blackford’s writing in Niobe] is thematically concentrated, notably evocative and clearly heartfelt. It is close to Szymanowski in sound and in its solutions in pitting a solo violin against a lustrous orchestra. A particularly lustrous orchestra in this case, the Czech Philharmonic, against which Waley-Cohen’s violin tone is characteristically strong and steely, notably in the double-stop cadenza over a drone in ‘The Mourner’.”

Gramophone Magazine (Andrew Mellor), September 2018

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“Her control of phrasing, and especially the ends of phrases provided evidence of a thoughtful musician who has all the technical accomplishment and confidence she needs to project her thoughts. Her intonation is sure and her tone fine, perfectly formed. In her highly musical performance of the Brahms’s D minor sonata her delicacy of sound and the rythm in the third movement was marvelous, as was the drive in the finale. She breathed each movement, and even the whole sonata, as one.”

New York Times

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“Elina Vähälä played Corigliano's concerto in Turku in brilliantly glorious manner, in ecstasy of striking mastery, that was regulated by bright, polished control.”

Helsingin Sanomat

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“The fluent, stylish performance by the gifted Finnish violinist Elina Vahala, in her Chicago debut, revealed a musician whose brilliant technique is matched by abundant spirit, sensitivity and imagination.”

Chicago Tribune

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“Tamsin Waley-Cohen’s Albion Quartet played Beethoven’s Op 74 string quartet, The Harp, with (...) bucketfuls of energy, teamwork and ideas.”

The Times (Richard Morrison), 2018

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Current RSNO assistant conductor Holly Mathieson brings clarity and transparent appreciation for the elegance of the music to the seasonal diet of Strauss waltzes. Not to criticise the fine line-up of guest conductors we have seen already this season, but we do not see her often enough on the podium, where she was also a very informative emcee. This was a concert of charm and sophistication, miles from the barn-storming arena-filling approach that others have inflicted on these beautiful tunes.

The Herald Scotland (Keith Bruce), 2018 (RSNO, Viennese Gala, Stirling)

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“... [If] there was an atmosphere conjured up it was mainly due to the efforts of the orchestra under the excellent New Zealand conductor Holly Mathieson. Her gestures were impeccably clear and yet expressive, and the orchestra responded impressively to her way with the score. She naturally feels just the right amount of give and take, enabling the music to flow. The orchestra needs to be extremely flexible to avoid exuding a sort of generalist Gallic feel, and Mathieson was particularly adept at isolating the central feel of a particular section, or following the unfolding drama naturally.”

Seen and Heard International (Colin Clark), 2015 (Holland Park Opera)

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...[W]hat we had from the Junior Orchestra of the National Youth Orchestra of Scotland on Saturday was a phenomenal display of musicianship. I literally thought, on the night: "These musicians are between eight and 13 years old; what they are achieving here tonight, in a sold-out Greyfriars concert, where the buzz is electric, is genuinely outstanding." Everything they did, guided and released by the charismatic New Zealand conductor Holly Mathieson, from MacCunn's Land of the Mountain and Flood to Gliere's little-known, gloriously-melodic Horn Concerto, came soaring off the page.

The Herald Scotland (Michael Tumelty), 2015 (NYOS Junior Orchestra)

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[Josef Suk’s Meditation] begins quietly but builds to a powerful climax before fading into silence and the highly committed performance left a deep impression and a desire to hear the work again.

East Anglian Daily Times (Gareth Jones), 2018

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The heart gives a little leap at the prospect of Dvorak chamber music, especially when it comes from a duo as engaging and intelligent as Tamsin Waley-Cohen and Huw Watkins. […] It feels as though these performers have got the scale of this music just right: Nothing forced, no obvious straining for effect, just fresh, thoughtful and committed interpretations shot through with poetry and alertness. This is real chamber music.

Gramophone (Richard Bratby), January 2018

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"Lucerne's talented Music Director Clemens Heil conducts the score [of Verdi’s Falstaff] with real zing, and the Lucerne Symphony Orchestra coruscates with rhythmical precision and alluring timbre."

Opernwelt (Peter Hagmann), 2018

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“Violinist Alexander Sitkovetsky, like his accompanists, displayed an admirable technical facility and to this he added an incredibly clear sound blessed with a lovely silky sheen. Once more like the Tonkünstler, Sitkovetskyʼs power and projection were striking – I donʼt think Iʼve ever heard the harmonics in the first movement cadenza ring so loud, full and true.”

Seen & Heard (Claire Seymour), March 2017
Mendelssohn Violin Concerto Op.64 with the Vienna Tonkünstler Orchestra

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