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Solo Recital, Kronberg Academy, 11 September 2012
"Auch das Eröffnungskonzert stellte zwei Absolventen der Kurse aus den vergangenen Jahren vor: Nicolas Altstaedt und Natalie Clein. Der Auftakt gehörte Natalie Clein unter anderem mit Pretiosen aus der Feder von György Kurtág. „Shadows“, dunkel und sanft, dann „Faltering Words“, ein allerkürzestes Notat für John Cage. In „Az hit…“ (Der Glaube) demonstrierte die Cellistin schließlich eindrucksvoll, wie nahe ihr Instrument der menschlichen Stimme kommen kann."
Gerd Döring, Frankfurter Rundschau, 17 September 2012


NEWS 29 AUG 2012: Watch the recording of Natalie's performance from A Room For London on The Guardian website


NEWS 20 AUG 2012: Natalie will appear in interview with Mark Lawson tonight at 19:15 on BBC Radio 4 Front Row


NEWS 06 AUG 2012: Natalie's Bloch/Bruch CD has entered the UK Classical Charts at No.4


Bloch & Bruch works for Cello & Orchestra, Hyperion CDA67910
BBC Scottish Symphony / Ilan Volkov

"Clein and Volkov give a performance of Schelomo that is very moving, both in its profound sensuality and in the pervasive sense of transience that gnaws at its vision of worldly glory. They bring the same commitment to From Jewish Life and Voice in the Wilderness. The other knockout is Bruch's Kol Nidrei, in which the solo cello acts as a synagogue cantor to the orchestra's chanted responses. Beautifully done, it brings the disc to a reflective close. Highly recommended."
Tim Ashley, The Guardian, 09 August 2012


"A breathtakingly beautiful dialogue between Natalie Clein & the BBC Scottish Symphony conducted by Ilan Volkov. Clein manages to explore the profound depths of [Bloch's Schelomo] and all its vocal expressivity without exaggeration or hyperbole and the orchestra's response feels minted in the moment rather than pre-planned. I'm not sure I've heard a more convincing modern account on disc. An immaculate recording."
Andrew McGregor, BBC Radio 3 CD Review, 04 August 2012


"Natalie Clein's discreet soulfulness proves to be an ideal quality on this Bloch CD. There are sufficient common denominators in the Jewish resonances and the use of the cello in cantor-like fashion to render the programme cohesive and interconnected, but at the same time there is a variety of style and idea that gives it a wide enough scope to sustain a whole CD. Clein is the cello protagonist in all four works, her range of tonal colour, her animation and her discreet soulfulness proving to be ideal qualities. Ilan Volkov conducts the BBC Scottish Symphony Orchestra with just the impetus and sensibility that this music requires. Kol Nidrei is one of the most beautiful works in the entire cello canon, a factor that this performance conveys in a blend of tranquillity and heartfelt ardour."
Geoffrey Norris, Daily Telegraph, 27 July 2012


"Natalie Clein's inspired collection of [Bloch's] three cello works on Jewish themes...with Bruch's Kol Nidrei is rare and welcome. Her impassioned, sensitive playing finds willing collaborators in the BBC Scottish Symphony Orchestra and their former principal conductor."
Hugh Canning, Sunday Times, 15 July 2012


"Ernest Bloch’s ‘Hebrew rhapsody’ for cello and orchestra, written in Geneva in 1916, has been performed with passion and conviction by many great cellists, none of whom has persuaded me that I ever wanted to hear the piece again. This new recording by Natalie Clein is the first to do so. Clein is a thoughtful artist with a gift for lyrical understatement [and her] approach is commendably uncluttered. In Shcelomo’s many liturgical quotations she adopts a stiff upper lip of British reserve that allows the music to speak for itself and shields it from the hazards of kitsch. No-one since Gregor Piatigorsky in 1957 has made such sense and beauty of the score. You cannot wish to hear a clearer, lovelier investigation of Bloch’s Jewish decade."
Norman Lebrecht, La Scena Musicale, 15 July 2012


"Natalie Clein gives an unexaggerated performance pursuing the music's linearity and playing from the heart while conjuring some appropriate dark tone from her instrument. It's one of the most persuasive performances of [Schelomo] that I have heard. Throughout, the recording is as vivid as the music. An outstanding release."
Colin Anderson, International Record Review, 11 July 2012


"The strongly emotive musical aura of Bloch's Schelomo seems ideaaly suited to Natalie Clein's impassioned style of cello playing. As one might expect, Clein delivers a powerfully committed performance, but also manages to avoid over-indulgence, negotiating the peaks and troughs of the music's volatile emotional language with a clear sense of direction."
Erik Levi, BBC Music Magazine, September 2012


"Natalie Clein’s performance concentrates, most affectingly, on the atmosphere of deep introspection… Clein’s is a thoughtful, subtle and satisfying account, well supported by the BBC Scottish SO, who play with passion and spirit. Clein is highly sensitive to the emotional import of Bloch’s modal inflections; this enables her to find exactly the right character for each of the scenes From Jewish Life. Voice in the Wilderness has a most original form… Natalie Clein encompasses all the work’s varied character and demands while retaining an air of polish in her playing. Her chords in the vigorous, energetic third section, for example, remain full and rounded, without appearing over careful. The Bruch, too, receives a lovely performance, with Clein bringing out the different colour of each of the cello’s strings and the orchestra effecting most beautifully the transition from sombre to heavenly."
Duncan Druce, Gramophone, September 2012


Cheltenham Town Hall
Saint-Saëns: Cello Concerto No.1 in A minor Op.33
Oxford Philkomusica / Marios Papadopoulos

"When Natalie Clein appeared on stage with her cello the atmosphere moved up several notches. She is a passionate and committed player, and Saint-Saens' dazzling First Cello Concerto seemed tailor-made for her. She tore into the swirling opening theme, ably abetted by the orchestra, before giving a deeply moving account of the more lyrical second subject."
Roger Jones, Gloucestershire Echo, 28 March 2012


Sheldonian Theatre Oxford, 23 March 2012
Saint-Saëns: Cello Concerto No.1 in A minor Op.33
Oxford Philkomusica / Marios Papadopoulos

"As soon as Natalie Clein steps out, cello in hand, you sense that you are in for a memorable performance. The clues are all there in the purposeful walk and the dreamy, slightly distant look on her face that tells you she is already immersed in the music, before she plays a note. This was a captivating performance of a gloriously playful piece that carries the listener along on a melodic and emotional rollercoaster, from the jaunty opening to the eloquence of the second movement minuet, with a persistent yearning threading its way throughout. This was a piece perfectly suited to showcasing Clein’s immense musicality and virtuosity, and she effortlessly held the audience in her thrall from the moment she drew her bow across the strings...this was very much Clein’s show."
Nicola Lisle, Oxford Times, 28 March 2012


Eilat Festival
"Natalie Clein, who played Haydn's Concerto in C Major, was the star of the evening. Her performance is like a love story between her and her ancient instrument. Her sound production is natural and sincere, full of beauty and of colours of life – just as is the musician herself."
Maxim Reider, Yedioth Ahronot, 20 March 2012


Barber Institute of Fine Arts Birmingham
Recital with Alasdair Beatson
"A celebrity recital from players of the highest calibre. Natalie Clein and Alasdair Beatson joined in a collaboration of immense, almost instinctive empathy in a range of works encompassing huge differences in style, delivering each with an integrity entirely appropriate to the piece. The performances were very fine indeed, beginning with an account of Debussy’s late Cello Sonata which revealed an extrovert character not often found in more fey readings of this wonderful work. Faure’s Second Cello Sonata was given with an almost vocal eloquence...Webern’s Three Short Pieces were tellingly delivered, every note resonant with a whole gamut of effect and significance, and, in complete contrast, Brahms’ mighty Second Sonata found a surging strength from these partners. And Clein’s  performance of Lutoslawski’s fascinating Sacher Variations was utterly compelling in response to its scuttering note-patterns developing into broad melody, and with microtones which opened doors to glimpses of an utterly new tonal world."
Christopher Morley, Birmingham Post, 09 March 2012


Barbican Centre London
"The concert, conducted by Paul Daniel, also included a beautifully nuanced performance of Elgar’s Cello Concerto from Natalie Clein"
Richard Morrison, The Times, 07 January 2012


Philharmonic Hall Liverpool
Elgar Cello Concerto
National Youth Orchestra of Great Britain / Paul Daniels

"Natalie Clein was the declamatory yet lyrical soloist in the Elgar, a performance that was admirably unsentimental." 
Tim Ashley, The Guardian, 06 January 2012