‘Lawrence Power plays all three pieces with big-toned, fibre-rich advocacy’ (The Irish Times)

‘The viola soars into wide-ranging beauty in Lawrence Power's expert hands … Power really makes his viola throb in Bartók's dark-hued unfinished concerto’ (The Times)

‘Here's a wonderfully imaginative piece of record programming … [Rózsa] This piece derseves to become the viola player's answer to the Korngold Violin Concerto. The superb accounts of the Bartók concerto and Serly's short yet compelling Rhapsody only enhance this set's desirability’ (The Sunday Times)

‘Power’s supreme artistry fuels performances of works by composers who are linked. Serly, who edited Bartók’s Viola Concerto, is given the limelight in his Rhapsody, and the spicy concerto by Rózsa makes for a pungent coupling. All are energised by the orchestra’s vigour’ (The Daily Telegraph)

‘Power is a much more full-toned soloist in the Bartók concerto than some of his predecessors … his tonal control is magnificent, wide-ranging with not a trace of throatiness even at the top of the range, and his technical command is the next best thing to flawless … it seems unlikely that the solo line here has ever been quite this beautifully shaped. The Bergen Philharmonic under Andrew Litton … acquits itself admirably, with finely shaped solo lines, blended sectional playing and ample bite in the tuttis where required’ (International Record Review)

‘Listening to Lawrence Power's committed performance of both works leaves one grappling for reasons for the comparative neglect of the Rózsa … Power delivers a highly charged account of the solo part maximising emotional contrasts in the music to an even greater extent than the impressive Gilad Karni on a rival Naxos disc. The Bartók is equally compelling’ (BBC Music Magazine)

‘[Rózsa] Everything comes across with maximum impact—Power's agility at speed, his warm 'walnut' tone, and the innate musicality of his phrasing. Andrew Litton is in total command of every aspect of the score, inspiring his Bergen players to a performance that's dramatic, incisive and atmospheric. The Bartók concerto is presented in Serly's familiar completion and again, there's an urgency about the playing that is offset by a profoundly poetic response to the work's many lyrical episodes, especially the central Adagio religioso. Litton has a keen ear for detail and Andrew Keener's engineering team supports him with sound that is both transparent and full-bodied’ (Gramophone)

'Molto del merito della riuscita del CD va ai bravissimi Andras Kiss e Ferenc Balogh' (Musica, Italy)

'Here’s a new recording that might just go all the way to sensory overload … it’s as dazzling as you always hope it will be. Esa-Pekka Salonen and the Philharmonia live in Vienna in November 2011. Stunning playing from them. A truly atmospheric recording that makes it easy to believe you’re in the dark bowels of a castle … John Tomlinson’s dark intimidating bass in a role he knows so well makes Judith’s fate seem feel inevitable and Michelle DeYoung matches the scale of John Tomlinson’s performance … but it’s the orchestra as it builds the castle before our eyes that’s most impressive' (BBC Radio 3 CD Review)

‘Tiberghien’s Bartók concludes impressively’ (Classics Today)

‘This music has never sounded so seductive on disc … Everything is played with a glowing affection and naturalness’ (International Record Review)

‘Enthralling programme … a riveting account of Bartók's Sonata … fiery intensity, commanding technique and perfect intonation’ (The Strad)