“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“These are highly accomplished performances, the players blending beautifully."
Gramophone Magazine (Mark Pullinger), March 2016
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“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 MoreCurrent 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"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
“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
“..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“... 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“Her playing reminded me of that of the great Arthur Grumiaux; a higher compliment is impossible.”
–The Examiner, Ireland (Declan Townsend)
Read More“... superlative performances of Vaughan Williams. The Lark Ascending ... Highly recommended.”
–Northern Echo
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