“… The songs are brilliant, harmonically ambitious, melodically difficult, and captivating. Hyldig is terrific. I like Bruun’s energy and wish her high notes had more shimmer. It’s noticeably lacking from an otherwise great recording.”

“Two song cycles of the 1930s here give an insight into Messiaen the man. Both were inspired by his impassioned love for Claire Delbos, his first wife, and the ‘Mi’ of Poèmes pour Mi. The first cycle from 1936 is an idiosyncratic, sacramental celebration of their marriage, while their year-old son Pascal also features in Chants de terre et de ciel from 1938. Though profoundly lyrical songs, their intensity of emotion and Messiaen’s unabashed blend of the autobiograhical and theological makes for a heady brew not usually associated with the mélodie. [Messiaen’s] ideal voice was not that of a fragile Melisande, but of the Wagnerian Marcelle Bunlet, who sang Kundry and Isolde at Bayreuth. Hetna Regitze Bruun may not have sung those roles, but her beauty of tone is matched by the richness and power needed for these remarkable works. Bruun floats effortlessly in the melismatic alleluias of ‘Action de graces’ from Poèmes pour Mi or the wordless Vocalise-etude tucked between the two cycles, yet brings searing radiance to the closing ‘Resurrection’ of Chants de terre et de ciel. “ ****

“…Lloyd Webber shows himself to be a very capable conductor. In familiar works such as Elgar’s Introduction and Allegro and also his Serenade for Strings, Lloyd Webber does not erase one’s affection for classic recordings by Barbirolli and Boult (for example), but he clearly knows and loves this music, and I’m sure it’s not exactly unknown to the English Chamber Orchestra! In short, this CD is a success, although it is desirable chiefly for the less-familiar works that it contains.”

“This is a very enjoyable anthology. I don’t know how much conducting Julian Lloyd Webber had done prior to this assignment but he obtains good and responsive playing from the ECO.”

“I find Webber’s approach very different and highly sensitive. …he’s a conductor with a different take on these works but one that is eminently musical.”

“This is Julian Lloyd Webber’s premiere recording as conductor and at the same time his last production as cellist. His conducting is as ambitious as his cello playing. He carefully develops atmospheres without getting sentimental. The English Chamber Orchestra plays vividly and with much refinement.” ****

Performance (Elgar Serenade) *****     Performance ****     Recording ****

“Julian Lloyd Webber…evidently has the ability to make a difference to collective performance-level (the English Chamber Orchestra plays character fully and vividly at every point) while not getting in the music’s way—a combination of qualities nicely suited to this line-up of string works. Those by Elgar come across especially well. The Introduction and Allegro crackles along with crisp energy, with the four solo players delivering some lovely moments; and Lloyd Webber’s sureness of touch in the Serenade for Strings exactly captures the music’s unpretentious warmth.”

Gramophone Choice

“…Julian Lloyd Webber…offers an impressive disc of English music that demonstrates a richly rewarding affinity for the repertoire”

Album of the Week

“…Julian Lloyd Webber emerges as a conductor of some distinction, drawing eloquent performances from the English Chamber Orchestra… “

“…the music is well performed and recorded…and with two attractive premieres to boot, this is well worth considering.”

CD of the Week

“This is a beautiful album, with an intriguing mix of the familiar and the unknown. All the signs are that the former cellist Julian Lloyd Webber could be turning into a very fine conductor indeed.”

“…Tuck and Bonynge clearly are enjoying themselves… Tuck shapes the melodies firmly, and she and Bonynge are completely in tune with each other. Recorded sound is well balanced, giving sufficient weight to the soloist without slighting the orchestra… there is much pleasure to be found here.”

“…Ms. Tuck handles everything Czerny throws at her with aplomb… The orchestra plays fine and is balanced naturally with the soloist.”

“…it is useful to hear [Czerny’s] more complex compositions well performed by Rosemary Tuck and the ECO under Richard Bonynge.” ***

“…The recording quality is good, and the English Chamber Orchestra provides a secure…accompaniment. Australian pianist, Rosemary Tuck, despatches each work with real panache and élan, making light of the often complex pianistic gyrations and fireworks. She is also well able to treat the more serious parts with appropriate, if not necessarily tongue-in-cheek, solemnity. Richard Bonynge is the ideal choice of conductor here…”

“…music well worth befriending, especially in such lively company. In terms of other intégrales, Lucy Gould, Alice Neary and Benjamin Frith are clearly preferable…Frith in particular dancing his way with palpable pleasure through the many pages of nonstop allegro vivace and presto semiquavers. Well recorded, too…”