Gramophone Magazine Editor's Choice

“This landmark performance should convert many.” BBC Music Magazine, April 2008

“Leonidas Kavakos's Kreisler is authentic in the best meaning of that term, namely a keen approximation both of the music's spirit and of the composer's inimitable playing style. Few Kreisler recitals have recalled, in so much minute detail, the warmth, elegance and gentlemanly musical manners of the master himself. It was an inspired idea to open the programme with that nostalgic evocation of Old Vienna, the eight-minute VienneseRhapsodic Fantasietta, a Korngold sound-alike that can't waltz without smiling wistfully or even shedding the odd tear. Kavakos has mastered that lilting 3/4 to a T. His tone is uncannily familiar – cooler and less vibrant perhaps than Kreisler's own during the earlier part of his recording career but with a similarly consistent (though never overbearing) vibrato. But don't imagine that these performances are mere imitations: an individual personality does come through, it's just that a Kreislerian accent has become part of the mix – at least for the purposes of this recital. The programme has been very well chosen, ending with what are surely Kreisler's three most famous miniatures – Liebesleid, Liebesfreud and Caprice viennois. The Slavonic Fantasie after Dvorák is among the most interesting, incorporating as it does the first of the four RomanticPieces. Cyril Scott's Lotus Land is haunting and exotic, while Kreisler's own Zigeuner-capriccio provides a fine example of Kavakos's slightly melancholy puckishness. Péter Nagy's stylish accompaniments add yet more flavour to the menu.” Gramophone Classical Music Guide, 2010

“It's a nice idea for the Orchestra of the Age of Enlightenment to record a disc of such varied Vivaldian fare. The young women of the orchestra which Vivaldi directed at the Ospedale della Pietà in Venice were as renowned for the range of instruments they could wield as for their virtuosity; so it seems neatly apposite that the OAE, so full of capable soloists itself, should use this music to celebrate its members' own star qualities. And the mixture is a wide one:three solo concertos; a rare Concerto for two horns; the deservedly popular Concerto for lute and viola d'amore, two concertos for typically extravagant Vivaldian multiple lineups; and one of those chamber concertos in which all the players are soloists. The OAE play with great expertise and good taste throughout. Judging by the list in the booklet, they use a relatively large body of strings, but, although this is noticeable, there's no feeling of heaviness, and indeed the use of two double basses gives the sound a substantial foundation which is at the same time deliciously light on its feet. There's a total of 16 soloists listed: among the highlights are David Watkin's habitually assured and intensely musical playing of the Cello Concerto; Lisa Beznosiuk, sensitive as ever in La notte (though struggling a bit against the string sound); Andrew Clark and Roger Montgomery, treading securely and confidently through the Concerto for two horns; Anthony Robson, a little under the note sometimes but showing good breath control and phrasing in the Oboe Concerto; and a fairylight performance of the Concerto for lute and viola d'amore from Elizabeth Kenny and Catherine Mackintosh.
The performances are all directorless, and there was the odd place where a guiding hand might have pepped things up (or stopped the theorbo from twiddling so much in the slow movement of the Cello Concerto), but in general this is a relaxed and convivial Vivaldi programme that one can simply sit back and enjoy.” Gramophone Classical Music Guide, 2010