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)

Read More

... [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)

Read More

...[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)

Read More

[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

Read More

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

Read More

"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

Read More

“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

Read More

“Sitkovetsky harks back to an older tradition of violin playing not often heard these days.”

-The Washington Post (Patrick Rucker), December 2016
Recital at the Phillips Collection

Read More

“..and thatʼs just exactly where a mischief breaks though, the same way that Liebreich had previously hinted at in the miniatures "Arbor Cosmica". The Russian-British soloist Alexander Sitkovetsky picks that up with a heightened and always keenly direct sound, especially in the third movement where the wild position changes of the solo part soar above the jocular hurricane of pizzicato of the orchestra –a final clear chord sounding the end of the storm. Liebreich beams, the orchestra smiles, and the audience is rapturous.”

Süddeutsche Zeitung (Rita Argauer), March 2016

Read More

"The Albion Quartet displays the expected virtues of perfect (but natural-sounding) ensemble, a sense of intent communication between its four members and with the audience; they play with great vibrancy and a complementary sense of discipline and balance. They are evidently an ensemble eager to play works from right across the substantial repertoire for String Quartet, and also to design programmes which are far more than just a ‘random’ sequence of master works."

-Seen and Heard (Glyn Pursglove), 2017

Read More

“Waley-Cohen captures the score’s spirit of infectious bonhomie to perfection, and brings a similar air of uncluttered simplicity and ingenuousness to the Four Romantic Pieces [by Dvorak], creating the bracing impression of inspired improvisation.”

–The Strad (Julian Haylock) (Review of Bohemia (CD), 2017

Read More
Tamsin Waley-CohenWRB

“One of this year’s [Rising Stars] artists is the terrific British violinist Tamsin Waley-Cohen … In a programme that included a febrile and rhapsodic account of Poulenc’s Violin Sonata, Waley-Cohen gave the London premiere of Oliver Knussen’s Reflection ... this beautifully crafted eight-minute work is made of tiny aural brushstrokes suggesting water: ripples mirroring each other and bursting out in expression and ecstatic high lines.”

–The Observer (Fiona Maddocks), 2017

Read More
Tamsin Waley-CohenWRB

“Oliver Knussen’s eight-minute Reflection (2016), for violin and piano, had its London premiere from Tamsin Waley-Cohen and James Baillieu, superb players both. With its stylistic assurance and fresh-sounding impressionism ... it seemed a piece long present in the canon.”

–The Sunday Times (Paul Driver), 2017

Read More
Tamsin Waley-CohenWRB

“During the orchestral introduction, the soloist visibly entered into the soundworld, and this was echoed in the later orchestra-only sections, when her body language showed she was living the music with them. In every sense of the word, there was harmony between all players, a great feeling of supporting each other. The whole concerto was a triumph, but special mention goes to her pin-drop cadenza in the first movement, with eloquent silences and an exciting sense of anticipation. Affectionate applause was followed by Waley-Cohen's exquisite encore in the shape of J.S. Bach's Sarabande.”

–Bachtrack (David Mellor)

Read More
Tamsin Waley-CohenWRB

“Waley-Cohen had shown what a fine player she was, projecting George Benjamin’s Three Miniatures, Richard Causton’s new Fantasia and Air and Fernyhough’s daunting Intermedio alla Ciaconna with fearless intensity.”

–The Guardian (Andrew Clements)

Read More
Tamsin Waley-CohenWRB

“Young Artist to Watch – Great playing from the very talented Tamsin Waley-Cohen. This really highlights the talent of the next generation of virtuosi.”

–Classic FM (David Mellor)

Read More
Tamsin Waley-CohenWRB

“... her sense of line and capacity to make things happen are both beautiful and strikingly individual ... The Lark Ascending's opening solo searches out an extreme degree of musical space in a way that's at once daring and mesmerising.”

–BBC Music Magazine

Read More
Tamsin Waley-CohenWRB

“Tamsin Waley-Cohen launches into Szymanowski’s Sonata with gusto, her bow rasping on the string in the composer’s passionate flights, her sound meltingly beautiful and fragile in his graceful melodies. She has a potent rhetorical style, moving neatly from dramatic flourishes and cadenzas into gentle lyricism.”

–The Strad

Read More
Tamsin Waley-CohenWRB

“Her playing reminded me of that of the great Arthur Grumiaux; a higher compliment is impossible.”

–The Examiner, Ireland (Declan Townsend)

Read More
Tamsin Waley-CohenWRB