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Colin Clarke
Fanfare, May 2017

…Ingolfsson and Stoupel provide modern readings, fresh and clear, in clear sound with a lovely sense of perspective. …Ingolfsson has the gentle internalization of a phrase to a tee, and the first movement has a wonderful sense of rightness, of inevitability. Both instrumentalists are soloists in their own right, and it shows in the easy grasp of Fauré’s demands.

Stoupel is the perfect accompanist in the movement, self-effacing but providing just the right amount of support. © 2017 Fanfare Read complete review



Huntley Dent
Fanfare, May 2017

In lovely readings of both sonatas, duo partners Judith Ingolfsson and Vladimir Stoupel provide an ideal setting for entering a style that runs against the grain of Viennese tradition, the 19th-century’s template for sonata form. The journey from tonic to dominant and back to tonic isn’t Fauré’s journey—he revels in the ambiguity of the subdominant—nor does he establish themes and development them logically. Instead, the piano, given the chief role of creating a shimmering atmosphere, maintains an underpinning of constantly moving notes like rainfall, while the violinist, who is the singer, weaves an equally unbroken lyric line.

It’s good to have the two sonatas paired together, especially in such winning performances, so a warm recommendation is extended. © 2017 Fanfare Read complete review



Hi Fi Review (Hong Kong), March 2017

Ingolfsson Stoupel performs with warmth, and a grand and heartening feeling. Must listen! © 2017 Hi Fi Review (Hong Kong)



Robert Maxham
Fanfare, March 2017

In Judith Ingolfsson’s and Vladimir Stoupel’s reading of Gabriel Fauré’s First Violin Sonata, the violinist draws a rich and compelling tone from her 1750 Lorenzo Guadagnini violin, which she deploys in what sound like almost unending phrases.

For their unique grasp of Fauré’s gentle interiority, Ingolfsson and Stoupel deserve a strong commendation. © 2017 Fanfare Read complete review



Steven Kruger
Fanfare, January 2017

…this new CD is to be welcomed. The First Violin Sonata receives a lot of performances. The Second, without ever breaking from tonality, swerves into exquisite reaches that can take you far away—and perhaps leave some listeners behind. But barring the cryogenic reappearance of Francescatti and Casadesus, one is grateful for these beautiful and respectful performances. © 2017 Fanfare Read complete review





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