Deutsche Grammophon

Baltsa's imperious, piquant Isabella is a delight, especially when sparring with Enzo Dara's bumbling Taddeo and Ruggero Raimondi's formidable Mustafà. The onomatopoeic finale of Act One - in... — Katherine Cooper, Presto Music, May 2014More…

All but one of these performances are exceptional, even by Kissin’s stratospheric standards, the odd one out being the Moonlight Sonata…But the most extraordinary track is that of the 32 Variations.... — BBC Music Magazine, Christmas 2017, 4 out of 5 starsMore…

The difficulty in writing about the piano playing of Martha Argerich is that it is now, and always has been, so relentlessly good...Her Mozart bubbles with the freshness and effervescence of... — Gramophone Magazine, August 2016More…

Bernstein's electrifying account of No. 40 is keenly dramatic, individual and stylish, with the finale delightfully airy and fresh. If anything, the Jupiter is even finer: it is both exhilarating... — Penguin Guide, 2011 editionMore…

In many ways, Netrebko justifies her decision to tackle Verdi. She provides singing of sufficient amplitude and power to encompass the needs of Elisabeth de Valois...[and] is at her most expressive... — BBC Music Magazine, November 2013, 4 out of 5 starsMore…

Williams presides over the Berlin players with a firm hand and a twinkle in his eye. Pleasingly, the programme varies enough from the Vienna set, with Williams’s 1997 Elegy (performed by principal... — BBC Music Magazine, April 2022, 5 out of 5 starsMore…

When you have an intelligent, technically almost superhuman ensemble like the Emerson Quartet, playing with obvious feeling for the music, reservations about quartet-style fly out of the window. — BBC Music MagazineMore…

Deutsche Grammophon caught his ecstatically received potpourri... on the wing. — Sunday Times, 3rd January 2010More…