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David W Moore
American Record Guide, November 2016

Borralhinho is a cellist of sensitivity and blends well with the fine Gulbenkian group. He is not the most dramatic cellist about, but the music is only momentarily that way and the chamber music effect is sufficient. The orchestral performances are sensitive and exciting, and it is an unusually interesting program that I am happy to have, especially when recorded with such clarity and mood. © 2016 American Record Guide Read complete review on American Record Guide



Phillip Scott
Fanfare, November 2016

Borralhinho is clearly devoted to this music from his homeland, and brings a rich tone and great sensibility to his rendering of it. …Neves and the Gulbenkian Orchestra provide first-class support and are well recorded.

These are fine performances of music that deserves to be better known: a shining example of the kind of thing Naxos has been doing now for decades. © 2016 Fanfare Read complete review




Phillip Scott
Fanfare, November 2016

…a delight from beginning to end: engaging, superbly played and recorded, and often very beautiful. © 2016 Fanfare Read complete review



David Kettle
The Strad, September 2016

Pedro Neves conducts the Gulbenkian Orchestra with just the right degree of succulence and flexibility, and recorded sound is consistently clear and well balanced throughout. © 2016 The Strad Read complete review



Bob McQuiston
Classical Lost and Found, July 2016

The disc will introduce you to up-and-coming Portuguese cellist Bruno Borralhinho. With the support of conductor Pedro Neves and the Lisbon-based Gulbenkian Orchestra, he delivers remarkable performances of these four Iberian treasures. © 2016 Classical Lost and Found Read complete review



John France
MusicWeb International, July 2016

The playing by the Portuguese cellist Bruno Borralhinho was inspiring… The orchestra, based in Lisbon, under their conductor Pedro Neves, was consistently on good form. © 2016 MusicWeb International Read complete review



Jerobear
Review Corner, July 2016

This is modern (ish) music and we weren’t sure what to expect but if you’re thinking clichéd traditional music, you’re in for a surprise. It’s all modern and traditional European. © 2016 Review Corner Read complete review



Rob Barnett
MusicWeb International, June 2016

The sound is fine with pleasing detail and full spectrum impact. The performances radiate conviction and include world premieres. I see that the brilliant cellist Bruno Borralhinho is also active as a conductor. © 2016 MusicWeb International Read complete review



David Denton
David's Review Corner, June 2016

The disc collects together four works for cello and orchestra from Portuguese composers working on the international stage during in the Twentieth Century. Opening with the cello singing eloquently against an often intrusive orchestral backdrop, the following highly aggressive central Allegro of Joly Braga Santos’s Cello Concerto returns without a break to the contemplative world of the first movement. Completed in 1987, the year before his death, its musical language is very much in keeping with the later part of the last century, but remains easily approachable even to conservative ears. Rather more reluctant to make an early impression, the title of Fernando Lopes-Graça’s Concerto da Camara col Violoncello is somewhat misleading, the cello being a major player in all three movements. This is music that embraces atonality to a degree, the orchestra so pugnacious it sounds in turmoil with the cello, while the finale almost reaches antagonistic levels. It sure does not ask you to like it, but it is a fine score worthy of a place in the cello repertoire. Luiz Costa belonged to an earlier generation having been born in 1879, his beautiful Poema from the 1950’s written in the style of the late Romantic era. The orchestration, uncompleted at his death, is now receiving its premiere recording with the help of the composer, Pedro Faria Gomes. Dating back to 1916, Luís de Freitas Branco’s Cena Lirica shares much of the same mood of poetic intensity. The young Portuguese  cellist, Bruno Borralhinho, seduces the ear with a gorgeous tonal quality while brushing aside the many technical challenges posed by Santos and Lopes-Graça. Under the direction of Pedro Neves, this is some of the finest playing I have heard from the Gulbenkian orchestra on disc, and the sound quality is in the superb bracket. © 2016 David’s Review Corner





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