Reviews

'Like every good Broadway cast, the magic lay in the personalities. Opera-trained Danielle de Niese proved a magnetic prima donna, gifted with key lyric moments that she hugged and caressed.'

'In Osborne’s Schubert, the dark bass of the opening theme dissolves into pellucid trebles and quivering arpeggios, all done with fluid, poetic beauty.'

Recommended: 'If I’ve not mentioned the name of Harry Bicket, it’s because his influence permeates every facet of the performance, every intricacy and subtlety of the characters’ development and his direction ensures that this Linn set now takes the top recommendation for this work.'

'She has an extraordinary instrument ... the soprano brought real emotional heft to the Schumann.'

'Every vocalist is at the absolute top of their game and revel in some of the twists and quirks used in the performance to ‘refresh’ classics, borrowing from a range of genres and styles to surprise the ear ... A grand time, indeed.'

'The music is the star of the show. The musicians are elegant, sumptuous when needed, and flirty and frivolous when not ... Individually, these singers are wonderful, but together they’re a toe-tapping, thigh-slapping thrill.'

'...this piano trio, written between 1929 and 1940, was discovered in 2019 and given its premiere by the Gould Piano Trio last year.'

'PIVOT, taps into that sense of good times relived. Much of the music resembles Scottish folk tunes, sometimes quoting them directly, with cheerful melodies.'

'Anna Clyne’s PIVOT, the concert’s exuberant, sometimes raucous opener, which felt like a fittingly joyful explosion of energy at the return to live events.'