‘The Franck is played with the kind of refined elegance you’d expect from this duo. Tempo decisions are good, and they are careful not to allow movements to drizzle into each other, as less perceptive duos are apt to do; each movement retains its own definitive sense of character. The greater burdens in this work are borne by the pianist and Tiberghien proves a laudable exponent. Ibragimova makes a few expressive position changes, especially in the second movement Allegro and there is a clarity and directness to the reading … full of correspondences and inter-connections this finely recorded recital disc makes fine programming sense, no matter how many recordings of the Franck you may have and will be especially valuable for the Ysaÿe and Vierne’ (MusicWeb International)» More

„Das instrumentale Zusammenspiel ist wohlproportioniert, besticht durch Differenziertheit und Eleganz“ (Concerti, Germany)» More

‘One of the most emotionally responsive, flexible and passionate modern performances [of the Franck] I’ve heard … Ibragimova barely playing above a whisper to begin with—such a sweet, tremulous sound, growing and fading in the first [movement] … so well-paced and balanced. Even at its most exuberant the piano never quite swamps the violin, and Ibragimova’s sound holds its sweet centre … even in a crowded field this comes up fresh, and add outstanding performances of the less well-known things … it’s my Record of the Week’ (BBC Record Review)

‘Another reason to prefer this disc, in addition to the colour-conscious, energising and subtle playing of Benjamin Nabarro, Gemma Rosefield and Tim Horton’ (MusicWeb International)» More

‘A must for all collections of Rennaissance music’ (CD Hotlist, USA)» More

‘Playing under the baton of Thierry Fischer, the Utah Symphony has become one of the most impressive American orchestras on the scene in recent years … its tone both rich and balanced and its phrasing suitably Romantic without being overweeningly dramatic … highly recommended’ (CD Hotlist, USA)» More

‘Tiberghien is an expert guide. He is a sensitive and fastidious player who never forces his tone and is discreet with his use of the sustaining pedal. He can also bring out massive climaxes when required—he also plays Brahms. He shapes and moulds the sometimes bald and bleak writing, which is at times in just single notes, and takes us into the heart of the world of late Liszt. There is nothing routine about his playing. This is a most impressive recital … I cannot think of a better introduction to late Liszt. Very strongly recommended’ (MusicWeb International)» More

„Die Wasserspiele der Villa d'Este, ein Angelus-Läuten und die Trauergondel … dem Spätwerk von Franz Liszt versteht sich derzeit wohl kaum ein Pianist so betörend empfindsam zu nähern wie Cédric Tiberghien“ (NDR Kultur, Germany)

‘The choir’s 30-plus members give Phillips the heft this music requires … Phillips pounces on all the details that matter: dissonances crunch satisfactorily , imitative points are tightly nested, and light streams through thick homophony. The subtlety with which Phillips builds ever so slowly to the climactic final bars of the double-choir Laudate pueri is masterful. The choir is fresh-sounding and its ensemble is assured’ (BBC Music Magazine)

‘The combined vocal and instrumental contributions of Amici Voices get right inside the music. Their success is all about sustainably good judgement in knowing what really matters in communicating the essence of these exquisitely crafted cantatas. The highlight [of BWV182] is Helen Charlston’s mesmerising delivery of ‘Leget euch’ … lovingly accompanied by the flautist Ashley Solomon … in sum, this is as thoughtfully executed a Bach programme as you could possibly imagine. Most of all, it rings with truth and warms the heart’ (Gramophone)

‘What a relief … to encounter Garrick Ohlsson's captivatingly immersive take on these glorious pieces, which in terms of its emotional thrust recalls the all-encompassing Julius Katchen … one of the finest Brahms recitals of recent years’ (BBC Music Magazine)

„Tiberghiens technisch herausragendes, auf einem Yamaha-Flügel sehr klar formuliertes, sensibles und oft meditatives Spiel, seine Farbmischungen, sein wunderbares Nuancieren, als das macht aus dieser Aufnahme etwas ganz Besonderes, zumal weil jedes Gefühl echt und tief empfunden wirkt und nicht sentimental aufgesetzt. So zeigt er deutlich, wie sich Liszts Musik in den ‘Années de pèlerinage 3’ deutlich in eine Richtung bewegt, an die Debussy und Ravel anknüpfen sollten. Kein Zweifel also: Tiberghien legt mit dieser Einspielung ein ungemein kohärentes und wunderbar interpretiertes Liszt-Programm vor“ (Pizzicato, Luxembourg)