�Francis and the London Symphony Orchestra provide consistently world-class, shapely orchestral frameworks and beautifully characterised first-desk solos throughout� --Gramophone Magazine, June 2013
�What a heart-melting performance of the first concerto this is...The LSO are pin-sharp in their responses...Lisitsa�s is not a big, muscular sound but it is a lithe, well-toned one, and she lights up this most familiar concerto in ways I scarcely thought possible...Lisitsa really shines in the first and third concertos and the second is pretty impressive too� --MusicWeb International, 21st May 2013
�What a heart-melting performance of the first concerto this is...The LSO are pin-sharp in their responses...Lisitsa�s is not a big, muscular sound but it is a lithe, well-toned one, and she lights up this most familiar concerto in ways I scarcely thought possible...Lisitsa really shines in the first and third concertos and the second is pretty impressive too� --MusicWeb International, 21st May 2013
�I marvelled at the unsentimental fluidity and togetherness with her orchestral colleagues. This is...an impressive CD showcasing for the LSO's ex-double-bass player, now successful conductor, Michael Francis...Lisitsa follows Rachmaninov the pianist's brisk cue, but she doesn't rush� --BBC Music Magazine, July 2013 ***
�it�s a delight to report that much, though not all, of the music making captured here is terrific...Tempi are swift, with pianist and orchestra perfectly synchronised...Lisitsa refuses to wallow, accentuating Rachmaninov�s jazzy boldness and dark humour...Both works [Nos. 1 & 4] need this sort of advocacy.� --The Arts Desk, 13th April 2013
�it�s a delight to report that much, though not all, of the music making captured here is terrific...Tempi are swift, with pianist and orchestra perfectly synchronised...Lisitsa refuses to wallow, accentuating Rachmaninov�s jazzy boldness and dark humour...Both works [Nos. 1 & 4] need this sort of advocacy.� --The Arts Desk, 13th April 2013
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