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The New York Times, July 2003

“A momentary detour to recommend Prokofiev’s own performances, where you can find them. A Naxos CD offers his truly standard–setting performance of the blistering Third Concerto from 1932, with Piero Coppola and the London Symphony, and solo works.”



Alexander Morin
American Record Guide, April 2002

“The Concerto is given a splendid performance, helped along by Piero Coppola and the London Symphony Orchestra, with a wonderful blazing finale. The shorter pieces are played with lyrical feeling when needed, combined with virtuosic rhythmic firmness and propulsion… The transfers are excellent, as we have come to expect from Marc Obert–Thorn… None of the many performances of this music by other pianists capture Prokofieff’s characteristic mix of lyricism and acerbic grotesquery as well as these.”



Steve Smith
Billboard, March 2002

“[Mark Obert–Thorn] has made vivid, immediate transfers of recordings by [Casals], [Heifetz], and Cortot for Naxos. He is also taking the opportunity to revisit some projects he had previously done for other labels, with the advantages of experience and superior technology. The label recently issued his exceptional transfers of composer Sergei Prokofiev’s thrilling piano recordings.”



Robert Cummings
Classical Net, January 2002

“This disc is a must for Prokofievians and for those interested in great pianists of the 20th century.”



Roger E. Benson
ClassicalCDReview.com, January 2002

“Naxos continues its superb historic series with this issue of Serge Prokofiev’s 1932 recording of his Piano Concerto No. 3… The composer’s own recording, made June 27/28, 1932 in Abbey Road Studios, is of enormous interest. He obviously was a first–rate pianist easily able to cope with the concerto’s manifold difficulties…The fine notes by Jonathan Summers point out that Piero Coppola was artistic director of the French branch of HMV and no doubt influenced the decision to record this work. He leads a firm accompaniment with even a touch of portamento on occasion… All of Prokofiev’s solo recordings of his own works fill out this CD… The transfers by Mark Obert–Thorn are perfection —— this sounds quite superior to any previous issue I know. Budget price, too!”



Gary Lemco
Audiophile Audition, January 2002

“This is one of the great recordings of piano concertos featuring as soloist the composer of the work himself. Prokofiev was just as superb as Rachmaninoff at performing his own music… The original HMV recording session dates from 1932 in London and has been reissued numerous times, but never have I heard such clean and listenable sonics out of it as this vivid effort from engineer Mark Obert–Thorn.”

“This is one of the great recordings of piano concertos featuring as soloist the composer of the work himself. Prokofiev was just as superb as Rachmaninoff at performing his own music. The opening Andante sets the expectant mood leading up to the virtuosity of the rest of the concerto. The original HMV recording session dates from 1932 in London and has been reissued numerous times, but never have I heard such clean and listenable sonics out of it as this vivid effort from engineer Mark Obert–Thorn. The selected Fugitive Visions are delivered with an emphasis on their acerbic wit that is often missing in more modern recordings.”






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10:52:33 AM, 10 July 2014
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