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“All this music is superbly played here, with the sensitive oboist Alexei Ogrintchouk dominating as he must”

20th Century Recital, BIS: BIS2023

Ivan March, Gramophone

October 2014

 

"Ogrintchouk’s technique and phrasing is matchless throughout these three works. His beautiful tone is no better displayed than in the lovely K378 Sonata, which started life as a showcase for violin and piano.”

Mozart: Oboe Music BIS-2007

Steve Moffatt, Limelight Magazine

August 2013

 

"While this is a disc of fairly central repertoire, it is also one of uncommon distinction in terms of performance. Alexei Ogrintchouk’s mature oboe timbre, iridescent of colour and deployed with tasteful discretion and supple shading, is probably the main potential focus of attention...The perspective is properly that of an intimate chamber work; nothing is overstated or inflated, but equally nothing in terms of expression goes by without the performers finding a sympathetic, natural way of voicing it."

Mozart: Oboe Music BIS-2007

Geoffrey Norris, Gramophone

October 2013

 

“Written to showcase the virtuosity of Friederich Ramm, you can tell by the busy clack of the keys that Mozart gave the player’s fingers a good deal to work on in the opening Allegro. Ogrintchouk’s easy style takes all this in its stride, and musicality is to the fore rather than any edge of the seat sense of danger. The lyrical Adagio which follows is sublime, and there is more good humoured instrumental banter in the final Rondo. I don’t know of any better recordings than this (..)”

Mozart: Oboe Music BIS-2007

Dominy Clements, musicweb-international.com

August 2013

 

“This work blends sparkling melody and virtuosity (..) and Ogrintchouk plays it to the hilt in a performance that remains relaxed despite the very high technical demands placed on the soloist.”

Mozart: Oboe Music BIS-2007

James Manheim, Allmusic.com

April 2013

 

"An intriguing disc, fastidiously researchedThe Swedish Chamber Orchestra plays crisply and cleanly with a sound perfectly matched to Ogrintchouk’s own (extremely fine and technically impeccable) soundthis is a fine performance."

Bach Oboe Concertos, BIS-SACD-1769

Early Music Today

March/May 2011

 

"Ogrintchouk plays it [A major Concerto for oboe d’amore] beautifullywith a just appreciation of the instrument’s mellow tonal qualities. He has the understanding of how Bach’s long phrases are braced by shorter ones within their span, which is an essential quality of good Bach-playing. The other two solo concertos find him equally at homesimply be grateful for four admirably played and recorded oboe concertos by a great composer who wrote demandingly but incomparably for the instrument."

Bach Oboe Concertos, BIS-SACD-1769

John Warrack, Gramophone

February 2011

 

"Alexei Ogrintchouk... offers playing that’s graceful, beautiful and searchingly expressive."

Bach Oboe Concertos, BIS-SACD-1769

Malcolm Hayes, Classic FM Magazine

March 2011

 

"What's consistently authentic, though, is the quality of Ogrintchouk's playing, with its fulsome tone and clean articulation. He's placed well forward in the sound picture but the contribution of the Swedish Chamber Orchestra is important, too; forget the musicology, it's a delightful disc."

Bach Oboe Concertos, BIS-SACD-1769

Andrew Clements, The Guardian

December 2010

 

“Alexei Ogrintchouk’s tone is attractively rounded, always expressive and beautifully phrased, and with an effortless and breezy way of taking flight with the music which makes him ‘invisible’ in technical terms, masterful in the way in which he leads the band in interpretations which I have a feeling will be the standard to beat for many years to come.”

Bach Oboe Concertos, BIS-SACD-1769

Dominy Clements, musicweb-international.com

February 2011

 

"(..) the concerto dazzles like a 100-watt bulb in a hall of mirrorsthe restless energy of Ogrintchouk's performance could power the Barbican's stage lights for monthsthe oboist's fingers are almost never still, tracing constant, rippling curlicues as the music rises and fallsall ears were on the brilliant Ogrintchouk, who, as he greeted the composer at the end, looked exhilarated."

Marc-André Dalbavie Oboe Concerto, commissioned for Alexei Ogrintchouk by BBT and BBC, world premiere 17th December 2010 with BBC Symphony Orchestra at Barbican, London

Erica Jeal, The Guardian

December 2010

 

"It could have been electronic, but was actually the solo oboist Alexei Ogrintchouk (chords are possible on the oboe, but it’s rare for them to sound as beautiful as Ogrintchouk made them)... The small patterns swelled into big ones, swooping up and down the entire range of the oboe with a virtuosity that had to be heard to be believed."

Marc-André Dalbavie Oboe Concerto

Ivan Hewett, Daily Telegraph

December 2010

 

"...a fabulous soloist"

Marc-André Dalbavie Oboe Concerto

Paul Driver, Sunday Times

December 2010

 

 

 

Alexei Ogrintchouk, oboe and conductor