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PROMS 2013:
Granville Bantock - Sapphic Poem
with BBC National Orchestra of Wales / Conductor: Jac van Steen

... Then came the Proms premiere, a mere 104 years after it was written, of Granville Bantock’s Sapphic Poem, for cello and orchestra. Laying out Bantock’s long, singing lines with little apparent effort, soloist Raphael Wallfisch enchanted his audience with the cello’s delightfully mournful tones. This may not be the work’s last Proms appearance. Following it with a substantial Bantock encore, Harnabdil, risked gilding the lily but, if anything, it was received with even greater enthusiasm.
London Evening Standard

Wallfisch’s sound felt like a warm summer’s breeze wrapping itself around the hall, and his interaction with the leader Lesley Hatfield was almost romantic. I could see both of them had such passion for the music they were making. His use of vibrato seemed very carefully thought out, and what was even more impressive was when he just let a note lie with no vibrato, accompanied by enchanting harmonic progressions – moments like this made me melt inside.
As an encore, Wallfisch and the orchestra performed Hamabdil, another piece by Bantock, written for cello, strings and harp. If you had thought Wallfisch’s sound couldn’t get any warmer than in Sapphic Poem, you were mistaken. He melted the hearts of everyone in the audience during that performance.
Georgina Hastings - Bachtrack.com

Raphael Wallfisch was a superlative cello soloist. Performances as brilliant as this can "make" a piece.
Classical Iconoclast

Sächsische Zeitung - sz-online.de - 28 February 2013
Dvorak: Cello Concerto with Neue Lausitzer Philharmonie / Conductor: Christopher Ward

Erst vor gut einem Jahr gastierte der Cellist Raphael Wallfisch bei der Neuen Lausitzer Philharmonie. Auf ergreifende Weise spielte er da Ernst Blochs hebräische Rhapsodie. Nach dieser Rarität ist der Londoner nun mit einem der populärsten Cellokonzerte zurück: dem von Antonín Dvorák. Hinter seinen hinreißenden Melodien und Liedzitaten erzählt es von Brüchen und Wendungen des Schicksals. Und vom Heimweh Dvoráks, das ihn nach der “Sinfonie aus der Neuen Welt” immer heftiger plagte. Wallfisch spielte mit Hingabe - hier forsch und kratzbürstig, da mit größter Behutsamkeit und Intensität. Zwischen wunderbar singenden Passagen des Solisten, denen die Soli aus dem Orchester an Ausdruckskraft nicht das Wasser reichen konnten, ließ Christopher Ward die Musik immer wieder stocken. Es schien, als wolle er die Mühsal der Entstehung noch einmal durchleben

The Yorkshire Post - 26 October 2012
Delius Anniversary Concert with Chetham's Symphony Orchestra / Conductor: Stephen Threlfall
Delius Cello Concerto
The main work was Delius' rarely-heard Cello Concerto. Its long harmonic sections flowed from one to the next and soloist Raphael Wallfisch floated its rhapsodic folksong-like melodies ingeniously, injecting shape into works which could be a self-indulgent ramble in less expert hands.

The Strad - August 2010
Zemlinsky Cello Sonata; Brahms Cello Sonata op 99 with John York - London, 6 May 2010
Raphael Wallfisch with pianist John York gave a masterly performance of Zemlinsky's 1894 A minor Sonata, a work he has resurrected from a barely legible photocopy and introduced to the repertoire. In the first movement he produced seamless, flexible playing, particularly in the long, rich lines of the second subject. There is a lot of understated drama in this movement, which Wallfisch developed with a nice sense of style. The central Andante was if anything more dramatic, with Wallfisch supple and commanding in turns, his lyricism enriched by a wonderfully eloquent vibrato. The exuberant last movement featured a rich, deep pizzicato of which a jazz player would have been proud. The influence of Brahms is strong in Zemlinsky's sonata; Wallfisch followed it with music by the great man himself, in another performance of the F major Sonata. This was a big-boned affair, flexible and muscular, full of rhythmic drive. There was none of the understatement of Zemlinsky here: the duo grabbed the audience by the lapels in the first movement and demanded attention. After a wondrous, deeply felt slow movement, the fleet scherzo featured a trio nicely balanced between naive folk tune and Romatic salon miniature; there was a similar jaunty, rustic simplicity to the finale.
Tim Homfray

Pforzheimer Zeitung - 19 January 2009
Variationen von Rossini and Martinu, Strawinsky "Suite Italienne" with Südwestdeutsches Kammerorchester Pforzheim/William Boughton
Raffiniertes Spiel auf dem Cello
Sobald der erste Celloton erklungen ist, wird klar, dass es sich bei dem britischen Musiker um einen souveränen Könner handelt ... Manuelle Beschränkungen scheint er nicht zu kennen, genüsslich kostet er den Klangreichtum des Alterwerks Rossinis ebenso aus wie er die Brüche und das Musikantische, das Virtuos-Vorantreibende wie Melodisch-Anregende der Musik des Tschechen [Martinu] gestaltet. Thomas Weiss
Read complete review

New Haven Register - 16 November 2008
Lalo Cello concerto, Leon Boellmann Symphonic Variations for cello and orchestra with New Haven Symphony Orchestra/William Boughton - New Haven
NHSO's precision, Wallfisch's virtuosity equal near-perfect concert ...
In the Cello Concerto in D minor by French composer Edouard Lalo, which opened the concert, Wallfisch stood out primarily for his natural, seemingly spontaneous style and its fluent way with slow arching melodic lines ...
In his second appearance of the evening, in Leon Boellmann's briefer Symphonic Variations for Cello and Orchestra, Wallfisch had even less to work with, but managed to make a stronger impression. These variations only comprise two real tunes, but the slow one had an almost operatic appeal, thanks to this cellist's vibrant tone and warm phrasing.
David J. Baker

Der Tagesspiegel - 10 May 2008
A commemoration of the 60th anniversary of the founding of the state of Israel
Bloch: Schelomo with the Brandenburg Staatsorchester Frankfurt - Berlin
Blue-white bunting flutters in the wind in front of the Konzerthaus. It is the celebration of the 60th anniversary of the founding of the state of Israel. Visitors talk, laugh, and sing. But inside the sounds are of a different kind. The Jewish community of Berlin has invited the Brandenburg Staatsorchester to play works by Josef Tal, Noam Sheriff and other Jewish composers. During the National hymn haTikwa the musicians under the leadership of their conductor Howard Griffith still have a little trouble to follow the wavering tempi of the choir singers of the Heinz-Galinski School. But then it all takes off. The soloist Raphael Wallfisch, whose mother is one of the last survivors of the women's orchestra of Auschwitz, makes his cello sing in "Schelomo". The piece, written by Ernest Bloch in 1916, is full of Jewish liturgy and folk music. In between rising and falling phrases the cello comes to the fore again and again. With fine dynamic nuances Griffith and the orchestra command the attention of the audience - despite the constant comings and goings in the gallery, conversatons across several rows, and even the breastfeeding of infants, which provide a kind of competing concert.

Märkische Oderzeitung - 13 May 2008
Bloch: Schelomo with the Brandenburg Staatsorchester Frankfurt - Frankfurt/Oder
There was no klezmer nostalgia or stetl romanticism in this Staatsorchester concert in the Kongresshalle on Friday, which offered works exclusively by Jewish composers, commemorating the 60th anniversary of the founding of the state of Israel. Anita Lasker-Wallfisch, one of the last survivors of the women's orchestra in the concentration camp of Auschwitz, was special guest at this concert.

Her son Raphael Wallfisch offered the solo part of the Hebrew rhapsody Schelomo by Ernest Bloch in clear and rich sound as a meditation between lament, agitation, and despair. The accompaniment by the Staatsorchester was no less intense ...
... as an encore the soloist played the Sarabande of the Bach C-major suite with introspection.

Robert Matthew-Walker, www.classicalsource.com Ltd
Grieg Anniversary Concert - 29 November 2007
[Raphael Wallfisch] concluded this well-planned concert with a fine account of Grieg's Cello Sonata partnered by the gifted young Norwegian pianist Gunilla Süssmann ... It received an exceptional performance.

Mike Marsh, Daily Echo
Finzi Cello Concerto with BSO and David Hill - 22 November 2007
Raphael Wallfisch has complete mastery of this passionate and personal work, pouring forth the Allegro's gravitas with formidable insight. Melancholic symmetry suffused the central movement, memorably yielding to emotional catharsis.

Tiroler Landeszeitung - 12 May 2007
Cellist Wallfisch begeisterte in Innsbruck
Im 8. Sinfoniekonzert der Stadt Innsbruck mit russischer Musik von Prokofjew und Tschaikowski glänzte der britische Cellist Raphael Wallfisch. Die Zusammenstellung erstaunte: Erst nach der Sinfonie Nr. 4 des Klassikers der Moderne Prokofjew spielte das Orchester unter Alexander Markovich die gefälligen Werkchen von Tschaikowski. Damit setzte er sie der Gefahr aus, noch banaler zu wirken.

Dass es dazu aber erst zum Konzertausklang kam, ist dem Cellisten Raphael Wallfisch zu verdanken. Er veredelte technisch makellos die Rokoko-Variationen, das Nocturne und das Pezzo Capriccioso durch seinen leuchtend klaren Ton, seine ehrliche Musikalität aus der Ruhe heraus sowie dem Verzicht, romantisierend zu schwelgen.

In den Variationen enthielt er sich vordergründiger Virtuosität und dramatischer Expressivität: Gewitzt und lebensfroh schien er eher einen unbekümmerten, schelmischen Eulenspiegel zu erwecken. Genauso musikalisch zart und raffiniert zeigte er sich in den beiden anderen romantisch-introvertiert interpretierten Stücken. William Dart, New Zealand Herald - 26 February 2007
Saint-Saens Cello Concerto No.1 with Auckland Philharmonia Orchestra - 22 February
Raphael Wallfisch emanated amiability in Saint-Saens' First Cello Concerto. For the English soloist, this performance was obviously very much a team effort, casting significant glances throughout the work at both conductor and concert master.

The concerto can be discreet in its passions, but Wallfisch heightened them with bold accents and unexpected glissandi. Dialogue between soloist and orchestra was the order of the evening, with Wallfisch increasing fervour in the wake of Saint-Saens's often brusque orchestral interjections.

If the minuet seemed a little stern, Wallfisch's outpouring was all the sweeter alongside it. Also finely gauged were the emotional shifts of the final sections until all ended in a blaze of A major.

Rob Hubbard, Pioneer Press - 12 January 2007
A Salute to Antal Dorati - 12 January 2007
Dorati Cello Concerto - with Osmo Vänskä and the Minnesota Orchestra

One entrée was well worth savoring: British cellist Raphael Wallfisch, making his Minnesota Orchestra debut, proved an expert interpreter of Dorati's complex Cello Concerto. The maestro clearly had more ideas about what a cello could do than he felt could fit into the conventional concerto form, so he constructed a nine-part theme-and-variations that traverses an expansive emotional range.

And Wallfisch was impressive throughout the journey, plunging listeners into a dark Notturno; dancing with delight on the Scherzo; singing out a sonorous Canzone; and delivering a technical tour de force of a cadenza that proved the evening's most impassioned tribute to Dorati's gifts.

Jessica Duchen Blogspot, 8 January 2007
Menuhin-Graffin-Wallfisch Trio at Wigmore Hall - 7 January 2007
A wonderful concert, full of glorious tone, finely gelled musicianship and a beautiful combination of sparkiness, sensuality and intelligence. Philippe, Raphael and Jeremy are all powerfully individual players, but since they've formed themselves into a regular trio, they've been growing together in an exciting, creative way, as the best chamber groups ideally should. The hall was full, the atmosphere was terrific and although the Ravel Trio brought the house down, the opportunity to hear Schumann's Trio No.2 in F minor made the evening all the more significant.
Jessica Duchen

The Times, 2 January 2007
Raphael Wallfisch & John York at Wigmore Hall - 20 December 2006
Zemlinsky, Kodály, Fribbins, Korngold, Beethoven

A work by Alexander Zemlinsky, never before heard in modern times, has been brought to life at the Wigmore Hall. Shelved by the composer, and lost for over a century, the Sonata for Cello and Piano was given its UK premiere by Raphael Wallfisch and John York ...

... As the opening notes unfolded, there was a palpable frisson of excited anticipation in the audience. Here already, in an opening movement marked "with passion", was that ardent heart, stretching and straining the contemporary harmonic language, bending its rhythms and inflections - without ever abandoning the Viennese classical style that formed it. Zemlinsky's is an elusive language: Brahms greatly admired him, and he went on to teach Schoenberg - which almost says it all.

Almost - because there's always something that remains just out of grasp: in a slow movement that almost dissolves into sighing, and in a bittersweet finale that constantly changes course in its song and dance. There are places where the composer might well have edited himself - but this performance more than made its case for the work's return to the canon.

Fired by all this fin de siecle fervour, Wallfisch and York have been exploring more late-Romantic Viennese repertoire (a new CD is due this month) - and earlier we heard Korngold's irresistable little Suite from Much Ado About Nothing, written in exile in 1940: Hollywood nocturnes and Elizabethan hornpipes in a fusion of Old and New World idioms.

Before it came Kodaly, and after it a Sonata for Cello and Piano specially written for these performers in 2004 by Peter Fribbins. Lavishly romantic and cunningly crafted, it seemed to bypass the 20th century altogether. Finally, Beethoven's Cello Sonata in A, Op 69: a performance of outstanding clarity and perception that incarnated the musical insight and skills of this exceptional partnership.
Hilary Finch

The Strad
Jacqueline du Pré Tribute - Beethoven Cello Sonatas
Raphael Wallfisch and John York at the Queen Elizabeth Hall, London

Beethoven's music demands much; it taxes one's capacity to sustain form and generate contrast, changing swiftly from a bold gesture to the merest whisper. To perform his entire output for cello and piano in one concert would be daunting for the braves heart. And yet these artists rose to the occasion of a Jacqueline du Pré birthday tribute with bravura and formidable accuracy ... For a masterclass in delineation of counterpoint we could do no better than absorb their breathtaking rendition of the fugal finale of the D major Sonata op. 102.
Joanne Talbot

Excerpts © The Strad, reproduced with permission

Music and Vision
Jacqueline du Pré Tribute - Beethoven Cello Sonatas
Raphael Wallfisch and John York at the Queen Elizabeth Hall, London

... a performance of incandescent beauty, passion and control from probably Britain's best cello and piano duo.
... Perhaps the highlight (among so many) was the slow movement of the last, late sonata. Here the gorgeous depth (and sunny lights) of Raphael's cello conjured up such divine pathos and colour, while the piano part was charged with harmonic flow and feeling that I felt I'd never understood the movement before. The audience response made it obvious how privileged we were to hear two marvellously seasoned performers at the peak of their powers...
Alice McVeigh

The Vancouver Sun
Elgar Cello Concerto
London-based cellist Raphael Wallfisch turned in a superb interpretation of this complicated work. Mustering more than enough tone and presence to cut through Elgar's often thick orchestral sound, Wallfisch got the emotional balance of the work just right, innately understanding Elgar's poetry as well as his swagger. Tovey matched his soloist's maturity and depth, keeping the orchestra tastefully in check while demonstrating the work's compelling blend of the intimate and the heroic, ever underpinned by melancholy.
David Gordon Duke

Birmingham Post
Jacqueline du Pré Tribute - Elgar Cello Concerto, Beethoven Triple Concerto
Wallfisch's reading, desolate in the relaxation of resignation, very different from Jackie's protesting "take" on the work, was followed by a smiling partnership with violinist Philippe Graffin and pianist Jeremy Menuhin in Beethoven's repetitious concerto.

The Strad
John Metcalf: Cello Symphony; John Tavener: Eternal Memory, Thrinos, Syvasti
Vale of Glamorgan Festival

The Vale festival's cello theme achieved its fullest realisation in the concert given by Raphael Wallfisch with the English Symphony Orchestra under William Boughton at Llandaff Cathedral (9 September). To John Tavener's Thrinos Wallfisch brought a subtle transparency of tone akin to that of a viol, yet carrying all the distilled emotion of this lament for a dead friend. In Tavener's Syvati, also associated with mourning, Wallfisch's cello took on a gently declamatory and consolatory tone as he led the unaccompanied responses of the Cantorion Ardwyn Singers conducted by Helena Braithwaite.

This concert culminated in the premiere of John Metcalf's Cello Symphony, a passionately felt work whose title indicates the considerable scale on which it was conceived. While Wallfisch's beautifully lyrical sound was sometimes compromised by Boughton overindulging his woodwind, the cello's relationship with other instruments (including vocalising male voices) was better balanced, with Metcalf's use of a clear and epiphanic trumpet eliciting a joyous response from the cello in its highest register. This is a work which deserves to become part of the repertory and it could have had no better advocate than Wallfisch, whose humility of approach is matched by his humanity. (Rian Evans)

Excerpts © The Strad, reproduced with permission

Hexham Courant
Bach Cello Suites
... All were executed as if Wallfisch and his cello were one body. totally involved and in accord, showing that the resilience and timelessness of the music is communicated when a supremely musical performance is achieved, regardless of period or style...

Der Landbote
MacMillan cello concerto, conducted by James MacMillan<
In Raphael Wallfisch a soloist was found who has at his disposal an unlimited ability which allows him to identify with this work, and he interpreted it with empathy, expressive power and, time and again, moments of breathtaking bravura (transl.).

Aargauer Zeitung
The Complete Bach Cello Suites
... The Bach suites call for the highest virtuosity and skill - they are a workout for both body and mind. But Raphael Wallfisch's Bach interpretations seem effortless and natural. From the start he displayed an intensity and a depth of tone and interpretation. He gave the music creative form with vital, urgent and full-blooded, yet noble expression. His perceptive, almost spiritual phrasing produced an immensely rich sound.

Wallfisch's playing is unselfconscious and expressive, and displays a phenomenal technique. The individual movements flow naturally, nothing is forced or rigid. At the same time his music has a finely shaded and breathtakingly beautiful sound, even to the smallest detail. His interpretation demonstrated that the suites are less an introverted dialogue with the human spirit, but rather dances full of vitality, the sensuousness of which he conveyed with obvious gusto.

Yet Wallfisch also let his audience feel the underlying metaphysical elements in these dances in his interpretation of the Sarabandes - sometimes transparent and ethereal, sometimes questing, sometimes elegiac or in a state of total introspection.

In addition to all this, the guests experienced the humanity and naturalness of the artist in person, whom they were able to meet during the concert interval. The audience was thrilled and thanked him with a standing ovation. (translated from the German; see original article below)

Aargauer Zeitung
Die Bach Cello Suiten
... Bach erfordert in seinen Suiten höchste Virtuosität und Beweglichkeit - ein Kraftakt für Körper und Geist. Raphael Wallfisch war nichts davon anzumerken: seine Bach-Deutungen klingen mühelos und selbstverständlich. Von Beginn an gab er eine expressive Dichte vor, die nicht einen Moment nachliess in der Qualität seines Tones, in der Tiefe seiner Interpretation und in seiner hoch motivierten Gestaltungsweise, die zwischen einem vital drängenden, vollblütigen, doch edlen Gestus und einer innigen, empfindungswarm nach innen gewandten Phrasenführung zu einer immensen Vielfalt differenzierter Klanggebung fand.

Wallfisch's Spiel ist unaufgesetzt expressiv, mit einer phänomenalen Technik. Nichts begreift er starr und schematisch, sondern lässt die einzelnen Sätze organisch strömen. Dabei formulierte er mit edlem, äusserst fein schattiertem Klang, selbst kleinste Details bedrückend schön. Er machte im Grundgestus hörbar, dass die Suiten weniger introvertierter Dialog mit der Weltenseele sind, sondern lebensvolle Tänze, denen er mit kulinarischem Vergnügen an der Sinnlichkeit der Klänge suggestiv Gestalt verlieh.

Aber Wallfisch liess sein Publikum auch spüren, dass die Tänze durchaus metaphysische Elemente aufweisen. Man musste nur hören, wie er die Sarabanden mal luftig und durchscheinend, mal tastend, dann elegisch oder ganz in sich versunken spielte.

Zu alledem kam noch die grosse Menschlichkeit und Natürlichkeit des Künstlers selbst, dem die Gäste zwischen den beiden Konzertteilen im Haus zur Zinne bei einem Snack begegnen konnten. Das Publikum war begeistert und bedankte sich mit stehender Ovation.(sh)

The Guardian
John Metcalf: Cello Symphony; John Tavener: Eternal Memory, Thrinos, Syvasti
Vale of Glamorgan Festival

In the concert given by William Boughton's English Symphony Orchestra, with the Cardiff Ardwyn Singers conducted by Helena Braithwaite, the Vale festival's cello theme returned, this time fully justified in the person of Raphael Wallfisch. The setting of Llandaff Cathedral, with Jacob Epstein's iconic Majestas, suited the contemplative nature of both John Tavener's Eternal Memory, where the cello is set against orchestral texture, and his Syvasti, where its gentle declamation leads the chorus's responses.

This set the scene for festival director John Metcalf's new Cello Symphony, larger in scale and more rhapsodic than Tavener, but communicating with greatest immediacy in the high, sustained lyrical lines where Wallfisch's tone was radiant.
Rian Evans

Westfalenpost
Dvorák cello concerto, Siegen, Germany
Raphael Wallfisch ... spielte das Bravourstück eines jeden Cellisten mit kraftvoller Sensibilität und Virtuosität.

Siegener Zeitung
Ohne jede Mätzchen sind sein Stil und seine künstlerische Präsenz bestimmend, zentriert, auf den Punkt gebracht, besonders natürlich im Adagio mit seinen ungemein inspirierten Soli bei spärlicher oder völlig fehlender Orchesterbegleitung. Im Finale zeigte er bei schnellen Tempi eine halsbrecherische Fingerfertigkeit, arbeitete hochvirtuos auf höchstem technischen Niveau und gestaltete beseelt.

Der Landbote
Martinu cello concerto
Raphael Wallfisch verfügt über einen prachtvollen, grossen, sehr vibranten Ton, der mühelos auch über robuste Orchesterpartnerschaften hinauswächst. Aber im ergreifenden, aus einem elegischen Dreitonmotiv sich entwickelnden Mittelsatz fand der Cellist auch leise, expressiv anrührende und sensible Töne.
Die Zugabe einer Bach-Sarabande bestätigte den Solisten endgültig als Künstler von kongenialem Gestaltungsvermögen.

Irish Times
Elgar cello concerto, Dublin, Eire
In a rewarding account of Elgar's Cello Concerto, Raphael Wallfisch showed the best kind of star quality. Melody spoke out with deceptive ease, never striving yet brimming with quiet rhetoric. Cello tone was gorgeous, full of variety, and impeccably related to expressive purpose ... This was a performance freed from the weight of tradition and full of the pleasure of making music.

Rex Harley, Music and Vision
With Philippe Graffin: Kodály duo, Ravel sonata, Leamington Festival, UK
It was utterly thrilling; electrifying. In fact, any attempt to render the experience into words runs the risk of grabbing for the most extreme and outrageous metaphors in order to convey just something of what it was like to be there, and to hear such music fill the air around us. If you weren't there, then it will probably all sound like pure hyperbole. Frankly, I have never heard such rapport and musicianship on the concert platform as I did during this recital. The technique was faultless; the musical conversazione between the two players never faltered for a second; the range of tonal expression which they drew from their instruments, and the perfect dynamic balance between them, beggared belief. Nothing was forced, nothing was histrionic; but there was passion aplenty, and lyrical tenderness too.

Monterey County Herald
Dvorák cello concerto, Pacific Grove, CA
Cellist Raphael Wallfisch's profound romantic soul took wing with the Monterey Symphony Sunday afternoon in Pacific Grove. Wallfisch's warm and inspiring reading of Antonin Dvorák's Cello concerto in B Minor followed [the Nocturne]. Greatly admired for its balanced structure and lyric beauty, the concerto makes a magnificent showcase for cellists. And Wallfisch is a magnificent cellist who has recorded this work with the London Symphony Orchestra, under the direction of Sir Charles Mackerras. He performed with the Monterey orchestra as if he were encountering a long-loved friend with whom he was embarking on a cherished conversation.

Critics Choice
Dvorák cello concerto - Dayton Philharmonic Orchestra, USA
Wallfisch proved a brilliant, sensitive, unselfish soloist, one who seemed to go out of his way to blend with the orchestra.

Financial Times
Prokofiev Sinfonia Concertante - at the Royal Festival Hall with the Scottish National Orchestra
Wallfisch was gloriously equal to its demands ... his first movement became an unfolding of the most gripping, characterful, spontaneous sort ... his second movement was a clear stream of sumptuous melody. His rendering everywhere was inventive and exuberant, accurate and alive.

The Times
Finzi Cello Concerto - at the Barbican with the Royal Philharmonic Orchestra
Wallfisch brought a warm, lyrical fulfilment to the romantic, slow movement and elsewhere showed a passionate, articulate concern to maximise the music's poetry.

Financial Times
Britten Cello Symphony - at the Queen Elizabeth Hall with the English Chamber Orchestra
It was a reading of splendid concentration and cogency; of more rhythmic stringency indeed, and generally more vivid presence, than Rostropovich's on disc.

The Guardian
Walton Cello Concerto - at the BBC PROMS with the BBC Philharmonic Orchestra
Wallfisch was a superb soloist.

Glasgow Herald
Tchaikovsky Rococo Variations - at the Edinburgh Festival
... solo playing of brilliant panache from Wallfisch.

Aalborg News
Tavener - The Protecting Veil - Danish Premiere in Aalborg
... the great English cellist possesses a superb technique ... a world star.