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Oxford Symphony Orchestra/Robert Max
Ernest Bloch, Schelemo

“Clein gave a performance that was consistently and profoundly expressive, from the opening lament to the closing mood of resignation and despair…an inner strength and formidable technique, which she employs with integrity and commitment, her interpretation always true to the composer’s intentions.”
Oxford Times, 21 November 2007

Elgar Cello Concerto in E Minor Op.85 Natalie Clein
Vernon Handley / Royal Liverpool Philharmonic Orchestra
EMI Classics 501 4092

“From the spine-tingling opening to the final triumphant bars, this is an Elgar Cello Concerto that exudes unleashed passion and heightened sensitivity in equal measures. Natalie’s trademark tone – deep, rich and sensuous – doesn’t disappoint, particularly in the anguished first and melancholic third movements. It’s evident just how much this music means to the cellist – every note is lovingly played and brims with emotion. But it’s not just the Concerto that delights. What follows are six Elgar miniatures arranged for cello and orchestra. Natalie reveals her virtuosic side in La capricieuse, but it’s with the lyrical numbers – for example, the haunting Sospiri – that she truly comes into her own.”
Sarah Kirkup, Classic FM Magazine, November 2007

“Natalie Clein fearlessly goes where others have feared to tread for a generation, living each and every phrase with a poetic intensity and emotional immediacy that captures the moment to perfection.”
Julian Haylock, Classic FM Magazine, November 2007

“We have waited a long time for cellist Natalie Clein to record the Elgar Concerto – but the result is worth the wait. Clein plays beautifully and is sympathetically supported by that experienced Elgarian Vernon Handley and the Royal Liverpool Philharmonic.”
Tully Potter, Daily Mail, 19 October 2007

“Natalie Clein hopes some of her passion for the piece comes out – it certainly does, abundantly, in all four movements.”
EDITOR’S CHOICE Edward Greenfield, Gramophone Awards 2007

“Clein takes the first marking in the score ‘nobilmente’, as her mantra, but can also sustain a melody while accomplishing those sweeps and slides with panache.”
Anthony Holden, The Observer, 7 October 2007

“Natalie is willfully understated, playing soft and slow against the vast power of the orchestral juggernaut…as the ear attunes to her tone the interpretation sounds tenderly affecting and more in accordance with Elgar’s instructions”
Norman Lebrecht, Evening Standard, 19 September 2007

“Clein’s playing has an especially warm tone and smooth phrasing; her cello treats each note with the same love, and these qualities make hers a particularly unique interpretation. Clein has achieved an almost impossible task; she has given us a unique interpretation which is most definitely her own.”
Charlotte Gardner, BBC Classical Review, 14 September 2007

Sheldonian Theatre Oxford European Union Chamber Orchestra
“She is a performer of such great magnetism that she sweeps her audiences along with her, so much so that it is almost a shock when she stops playing and you find yourself back in the real world once more.”
Oxford Times, 29 March 2007

Sage Gateshead Northern Sinfonia
“Clein plays everything with passion, and no note here was taken lightly, least of all in her own cadenzas and flecks of improvisation”
Geoff Brown, The Times, 27 February 2007

Bridgewater Hall Manchester Camerata
“It was an inspired choice to present the young and brilliant Natalie Clein as soloist in Shostakovich’s first cello concerto. Her combination of technical virtuosity and emotional commitment ensured a performance that gripped from beginning to end. At its peak, it requires a desperate, howling series of shrieks from the cello which can only sound convincing given the utmost determination – and that is precisely where Natalie Clein succeeds. She has got what it takes.”
Robert Beale, Manchester Evening News, 7 February 2007