“The Sitkovetsky Trio were in Hong Kong to perform in a chamber music setting and then as soloists with a full orchestra – and the abundance of joy in their playing was clear in both concerts. Russian violinist Alexander Sitkovetsky and German-Korean cellist Isang Enders are so at one that their tasteful vibrato often seems to be in complete sync. They and the third member of the trio, Chinese pianist Wu Qian, produced a sound of ethereal beauty. Sitkovetsky and Enders tackled with relish their roles as soloists with the Hong Kong Sinfonietta under the baton of principal guest conductor Christoph Poppen. All three members did not tinker with the fine delicacy of articulation that is a hallmark of their work, Wu’s tonal shading and dexterity were top-notch.”
South China Morning Post (Christopher Halls), November 2019
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“Sonorous and lush, stormy urgency and gripping, (Jacek Kaspszyk) makes his debut at the helm of the Hamburger Symphoniker, tackling the secret "fifth" symphony of Brahms. The Hamburg orchestra musicians revel threw themselves in the voluptuousness of the sound. The Hungarian "Gypsy" style of the finale is a real pleasure for both the listener and the players alike. Jacek Kaspszyk lets the orchestra off the leash to unbridled emotions. From the melancholic strains, to dance-like rhythms and the nod to folklore: a pure delight.”
Die Welt (Peter Krause), 29 October 2019
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“Holly Mathieson’s beautifully configured orchestra delivers the audience a fine bonus, being right up there with its dramatic timing and wall-to-wall atmosphere. At the same time it creates a Bernard Herrmann-like pace and drive while supporting rather than dominating the singers who have a finely grained story to tell. Its presence is as evanescent as Quint’s.”
Theatreview NZ (Dave Smith), October 2019 (Opera New Zealand, The Turn of the Screw)
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“There are few concertos that test the full range of a violinist’s artistry the way the Szymanowski does—and there are few violinists who ace that test with the subtle confidence of Elina Vähälä. Whether she’s singing out the music’s stratospheric lyricism, deftly navigating its mercurial shifts in emotional terrain, teasing out its subtle timbral demands, harnessing its long range rhetoric, knocking out the motoric Stravinsky-isms, or keeping the phrases from sagging under the weight of their florid ornamentation, Vähälä has the measure of this endlessly intricate score—as well as the technical brilliance necessary to toss it off without strain.”
Fanfare Magazine (Peter J. Rabinowitz), July/August 2019
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“With the APO, the Grieg concerto gave the Italian pianist the opportunity to combine crispness with poetry, effortlessly moving from impeccably chiselled minor to yearning major, in response to eloquently pleading cellos. The cadenza journeyed from rapturous nocturne to leonine roars and after, the adagio allowed Bax further exquisite dialogue with orchestral colleagues; the finale had the unbridled swing of a folk dance in which all were merry participants. A seat in the circle was an advantage at encore time, watching Bax play a Scriabin prelude using just one hand, with a richness of tone that you might have thought was coming from two.”
New Zealand Herald (William Dart), April 2019
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“Alessio Bax is a musician who oozes grace and class, both in his stage manner and in his playing.He is capable of great delicacy, as in his handling of the airy birdsong at the top of the keyboard in Liszt’s St Francoise d’Assise: Lapredication aux oiseaux attests, as well as power and muscle, shown to thrilling effect in the same composer’s sonata Apres une Lecture de Dante which followed and closed the evening. After the Liszt pieces in the second half brought the house down, Bax gave two encores to set the seal of this special recital.“
Sydney Daily Telegraph (Steve Moffatt), 26 March 2019
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“Making his BSO debut, Bax gave the Mozart concerto a brisk, even-keeled treatment, and orchestra matched soloist in character. [..]Bax’sperformance was built on a foundation of understated grace, moderate dynamic shifts, and easy flow between statements”
Boston Globe (Zoë Madonna), January 2019
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“The most exciting debutin recent memory. An elegant pianist, he (Bax) approached every phrase with a singing tone, yet he displayed plenty of fire in the powerhouse passages. (…) Listeners were on their feet, demanding bow after bow from the soloist.”
Cincinnati Enquirer (Janelle Gelfand), April 2017
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“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
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“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
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“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
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“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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“These are highly accomplished performances, the players blending beautifully."
Gramophone Magazine (Mark Pullinger), March 2016
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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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“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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