Gabriel Urbain Fauré

“…without doubt one of the most electrifying recordings of four-hand piano music I have ever heard. Fauré's Dolly is invested with a subtly expressive detail that makes you listen with fresh ears to this well-worn favourite… La valse is a thrilling tour de force.” Gramophone Magazine, January 2010

“…the performance here of the surviving movement of the Concerto, with Jean-Marc Phillips-Varjabédian an eloquent and accomplished soloist, proves that the orchestration fits the music extremely well. Pianist Jérôme Ducros captures the Ballade's idiosyncratic blend of languor and virtuosity... he is a strong advocate for the Fantaisie, one of the host of underplayed works from Fauré's old age.” BBC Music Magazine, July 2009 *****

“…all these works are finely performed and recorded, making this an indispensable acquisition for all lovers of a still gravely misunderstood composer.” Gramophone Magazine, October 2009

“Here is an exceptional young musician - technically highly accomplished and to whom lyrical, mellifluous playing seems to come as naturally as wit and charm - at long last raising the profile of the orchestra's Cinderella.” Gramophone Magazine, July 2009

“Closely shadowed by pianist Philip Fisher, Geoghegan shows elegance, wit, a gorgeous sound and a bulletproof technique.” The Independent on Sunday, 3rd May 2009

“She’s only 20, but her agility and subtlety are already awesome. Who said the bassoon couldn’t be lyrical? Some of the music has meat, too, such as Dutilleux’s Sarabande et Cortège and the Koechlin Sonata. Philip Fisher’s piano accompaniments are most adroit.” The Times, 4th July 2009

“…a thoughtful and inventive programme, performed with tremendous style. …Geoghegan is a spirited advocate of these gems. Her beautiful account of Jancourt's Nocturne typifies her combination of natural musicality an exquisite tone…” BBC Music Magazine, July 2009 ****

“Here is an exceptional young musician – technically highly accomplished and to whom lyrical, mellifluous playing seems to come as naturally as wit and charm – at long last raising the profile of the orchestra's Cinderella. The instrument's solo literature is comparatively sparse and one supposes that bassoonists are grateful for any morsel (or, in this case, morceau) that comes their way. The problem here is that although many of the works are digitally, respiratorially and musically challenging (several written as test pieces for the Paris Conservatoire), not all of them are terribly good. And there is only so much indistinguishable Gallic caprice one can take at a sitting, as the sequence of Boutry, Gallon, Dutilleux and Bitsch items makes plain.
But there are few enough discs on the market that demonstrate the bassoon's expressive range in such an imaginative programme, the rather distant sound focus of the two instruments notwithstanding.
Geoghegan is one of those naturally gifted artists who can make a persuasive case for pieces like Grovlez's Sicilienne et Allegrogiocoso, Tansman's Sonatine and Pierné's Solo deconcert. The Jancourt and three Debussy titles (transcribed by Bronislav Prorvich) are first recordings, the latter proving surprisingly effective encores.” Gramophone Classical Music Guide, 2010