�Karabtchevsky keeps this bustling music firmly under control at all times. It�s certainly a promising start to this cycle, even if the writing is competent rather than outstanding. No quibbles about the playing or recording though; both are splendid.� --MusicWeb International, December 2012
�Karabtchevsky and the orchestra are on home terrain...Karabtchevsky makes Villa-Lobos's zig-zagging, lopsided melodic line sound as boldly and brashly scultped as Mount Rushmore...To continue the mountain-based metaphor, Karabtchevsky's performance has a sense of ascent: you can hear the different strata, feel air blowing through the structure� --Gramophone Magazine, January 2013
�Karabtchevsky and the orchestra are on home terrain...Karabtchevsky makes Villa-Lobos's zig-zagging, lopsided melodic line sound as boldly and brashly scultped as Mount Rushmore...To continue the mountain-based metaphor, Karabtchevsky's performance has a sense of ascent: you can hear the different strata, feel air blowing through the structure� --Gramophone Magazine, January 2013
�The language of both works is essentially neoclassical, but the shapes of the melodies and the ways in which they are coloured are entirely Villa-Lobos's own. The SPSO make a good job of them� The Guardian, 20th September 2012 ***
�Written for a huge orchestra, his "Symphony No. 7" opens in striking fashion, the Allegro vivace grabbing the narrative and dashing forward with it to its imposing climax� The Independent, 10th November 2012 ***
�Written for a huge orchestra, his "Symphony No. 7" opens in striking fashion, the Allegro vivace grabbing the narrative and dashing forward with it to its imposing climax� The Independent, 10th November 2012 ***
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