skip to Main Content

The authenticity of the febrile and rich sound they created, together with their intensity of emotion, made this most memorable

Violist Rachel Roberts

The Guardian, Rian Evans

“Beethoven: Music in Revolution was the ambitious title given to this five-day festival, curated and performed by the Gould Piano Trio and friends. It offered an absorbing historical perspective on a composer who subverted rules, pushed boundaries and used shock tactics, as well as capturing his rigour and passion.”

“Violinist Gould and Frith combined fire and expressive power in Beethoven’s Kreutzer Sonata, and its pairing with Janáček’s Kreutzer Sonata string quartet, based on Tolstoy’s short story of the same name, was inspired. David Adams, Gould, Rachel Roberts and Alice Neary may not formally be a quartet, but the authenticity of the febrile and rich sound they created, together with their intensity of emotion, made this most memorable.”

You may also like to see...
Wise and generous interpreters

MusicWeb International, Jonathan Woolf

Excellent soloists…a must-buy disc!

Gramophone, Guy Rickards

The Heavens And The Heart
Pastoral delicacy and delight

Classical Ear, Michael Quinn

Violist Rachel Roberts
Outstanding performances

Classical Source, David Truslove

Viola Soloist Rachel Roberts
Warm sonorities and elegiac yearning from the viola soloist Rachel Roberts

Birmingham Post, David Hart **** Review

Violist Rachel Roberts
A seductively lyrical work by Edward Gregson, featuring the rich sonorities of violist Rachel Roberts

Hereford Times, Emma Lilley

Violist Rachel Roberts
Fabulously played by the solo violist Rachel Roberts

The Times, Rebecca Franks

CD of the month – FonoForum Magazine

FonoForum 

The core repertoire for viola and piano is not extensive. Part of it are these three works, which violist Rachel Roberts and pianist Lars Vogt put together in a complex programme. Schubert’s Arpeggione Sonata seems to flow lightly, but is actually most profound music. Who else than the then only 27-year old composer could have so elegantly and skillfully translated life’s tragedies into music? Britten’s series of variations Lachrymae is a labyrinth of interwoven feelings with a sombre touch, posing the listener many a riddle. One senses the existential nature of Shostakovich’s last composition, too, the viola sonata op. 147, which was written by the dying composer in his last two months.

Rachel Roberts plays these masterworks with a light, breathing sound, which is never forced or pushed excessively. A simplicity prevails, never showing off or trying too much. Rather than mere size and volume, Roberts focuses on the variability of colours and subtle dynamic nuances.

It’s very convincing how Lars Vogt’s versatility helps shape this line. If the score demands it, he is able to grow to a real lion on the piano, and in the next moment retreat into the world of the quietest sounds. He has proven it many times as a chamber musician, especially at his own festival “Spannungen” in Heimbach, of which there are many live-recordings on the CAvi-label.

Back To Top 02/12/2020