Annelien Van Wauwe duly honoured Mozart’s particular empathy with the basset clarinet’s range of mood and timbre in all its registers. Her playing has abundant warmth and lyricism, allied to a sinuous vocal quality, and she produced some lovely, lightly period sonorities from an instrument almost twice the length of a modern clarinet. Thomas Dausgaard directed the BBCSSO to give Van Wauwe maximum exposure, especially in the cavernous lower register… this left the field open for the soloist to tease us with vocal phrasing, the odd dalliance with the orchestral wind instruments, some shapely decorations and, in the Adagio, some very alluring leanings into the note. 

Classical Source, August 2018

Read More

Conductor Jacek Kaspszyk managed to release energies out of Sinfonia Lahti, that you do not often hear. [...] He created an atmosphere, which results from great musicality and understanding [and] enhanced the rich and colourful chord structure in a very spontaneous and natural way, whilst also maintaining a balanced sound in the climaxes.

Etelä-Suomen Sanomat, 18 March 2017

Read More

The Warsaw Philharmonic Orchestra was the headline act in Davies Symphony Hall on Sunday, Nov. 6, and there was no denying the vibrancy and flair of the orchestra’s playing under Music Director Jacek Kaspszyk [...] After intermission, Kaspszyk led a performance of Brahms’ First Symphony that was at once robust and refined. It boasted plenty of rhythmic momentum in the opening movement (where Kaspszyk won my heart by taking the repeat, always the sign of a conductor who knows his trade), as well as gracefully translucent textures in the slow movement. The encore was a brisk and vividly colored account of Leonard Bernstein’s “Candide” Overture — a surprising and frankly flattering tribute from a touring orchestra to its host country. It was a delightful close to an all-around rewarding evening.

San Francisco Chronicle, 7 November 2016

Read More

Schubert's Third Symphony was pure magic in Kaspszyk's hands. It never lost sight for one moment of the quintessential melodiousness that is the composer's hallmark. But to the Poles' light-footed and well-sprung presentation, Kaspszyk added another ingredient: Beethovenian weight. It gave the symphony an unusual solidity, firming up the delight.

The Herald Scotland, May 2015

Read More

“Then came one of the day’s highlights: pianist Joanna MacGregor’s exceptional interpretation of the Goldberg Variations. With her tone as poised as it was subtly refined, she explored the many planes on which Bach’s structure operates, highlighting its protean variety of texture in a performance that touched the sublime.”

The Guardian

Read More

“Joanna MacGregor, making her Chicago Symphony Orchestra debut, was just the sort of soloist this music needs – firm of rhythm, incisive of attack, as coolly commanding at the keyboard as Boulez was on the podium. A terrific performance all around.”

Chicago Tribune

Read More

“MacGregor seems incapable of giving performances that are not at once extremely intelligent and entertaining…. She brilliantly multi-tracked herself in Conlon Nancarrow studies intended for player-piano, but bare musicality prevailed in her closing piece, a deeply touching account of the Allemande from Bach’s Fourth Partita.”

The Sunday Times

Read More

“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

Read More

“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

Read More

“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

Read More

“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

Read More

“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

Read More

“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

Read More

“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

Read More

“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

Read More

“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

Read More

“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

Read More

“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

Read More