Wolfgang Amadeus Mozart

"Mozart's late G minor has seldom been deciphered with such revolutionary zeal, such wild delight in motion, such passion in bringing out bold strokes of melody and harmony, or such churning drama. French conductor Marc Minkowski . . . showed what underlying daemonic forces went into this work of Mozart's . . ." (Süddeutsche Zeitung)

“Marc Minkowski's coupling of the last two Mozart Symphonies is truly individual, arrestingly weighty and very much forward-looking. …it is in the Jupiter that Minkowski triumphs. …the first movement is vigorously pressed forward with hard-edged timpani strokes. The slow movement is again very beautiful, yet with uneasy undercurrents. The Minuet again moves on strongly and brightly, preparing the way for the powerful, unstoppable finale.” Gramophone Magazine, October 2006

“Based on a 1955 Glyndebourne production, this Figaro has strong elements in Sciutti's Susanna, Jurinac's Countess and Cuénod's Basilio. Mellow conducting from Vittorio Gui.” BBC Music Magazine, September 2006 ***

“This is an early stereo recording and it sounds very fine. Graziella Scuitti, who had not at the time sung the part at Glyndebourne itself, makes an effervescent Susanna. Gui's steady tempo enables Sesto Bruscantini to articulate Figaro's anti-women diatribe without the usual scramble...Sena Jurinac makes a believably youthful Countess.” Gramophone Magazine, Awards Issue 2011

“These performances now seem a bit overpowering, in the wrong way, with the young pianist-conductor underlining and over-phrasing, though he was to get much worse later. Excellent accompanying.” BBC Music Magazine, September 2006 ***

‘Susan Tomes’s sprightly piano is in its element, leading the dance in these three mature trios … moods change at a flick of Mozart’s wrist, and Tomes, Anthony Marwood and Richard Lester have all the flexibility needed’ (The Times)

“The prolific Florestan here offer three trios, including the two finest, K502 and K542. These are beautifully judged performances, generally fleeter of foot, airier of texture and more intimate in tone than those from Barenboim and colleagues on EMI (see below), with an ideal balance between the instruments (Richard Lester's cello always a telling presence, even when his role is apparently incidental). In K542 the Florestan catch the peculiar Mozartian mix of radiance and passion in the outer movements without any of the excessive lingerings of the EMI performance.
The fast movements of the other two trios – the brilliant, concerto-like K502 and the ingenuous K564 – are just as delightful in their verve, their gleeful, quick-witted repartee and the vitality with which the players invest even routine- looking accompanying figuration. Occasionally, as in the finale of K564, Barenboim and Co are just that much more vivid. But far preferable is the Florestan's flowing tempo and naturally expressive phrasing in K502's Larghetto.
For those wanting K502 and K542 on a single disc, the Florestan enchant with their ebullience and spontaneous delight, and find a winning tenderness in the first movement of K542 and choose a sprightly, lilting tempo in same trio's Andante grazioso.” Gramophone Classical Music Guide, 2010

Le Monde de la Musique: “One wonders how Repin manages to find so much freshness and spontaneity in a work as well known as the Tchaikovsky Concerto…one is tempted to put Repin, with Milstein, Heifetz and Stern, at the very summit of a plethora of recordings.”

“playing so full of personality and commanding virtuosity . .” Chicago Tribune