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BBC Music Magazine, April 2018

Sublimely controlled, Barenboim throws down the expressive gauntlet with playing as subtle as it is high-voltage and apparently—paradoxically—on the edge of reason… © 2018 BBC Music Magazine

David Kettle
The Strad, April 2018

Here Barenboim explores exclusively Italian repertoire, again contrasting the ancient and the modern, but bringing the music’s astonishing sensuality and heady virtuosity firmly to the fore. What’s truly remarkable, however, is Barenboim’s effortless balancing of his sonic exuberance with a cool-headed accuracy and precision.

This recording is breathtakingly compelling, and one that’s full of brilliant revelations, all captured in an appropriately full but focused acoustic. © 2018 The Strad Read complete review

Charlotte Gardner
Gramophone, April 2018

…Part of the programme’s brilliance is the way in which, after the Sciarrino, Barrenboim then uses Tartini’s Devil’s Trill Sonata—appearing here to brilliant effect without its usual accompaniment—to start us on a gradual descent into an emotional ‘abyss’; initially imperceptibly, but after the concluding Allegro assai’s long, angry bow strokes it’s no surprise to be pushed out of the frying pan and into the fire of Berio’s Sequenza VIII at the programme’s core. Add Barenboim being on fire himself, technically and interpretationally, and it all adds up to a fantastically engaging listen. © 2018 Gramophone  Read complete review on Gramophone

Uwe Krusch
Pizzicato, February 2018

Michael Barenboim’s second album focusses on solo violin music from three centuries of Italian art. The extremely demanding program is not a problem for a violinist as outstanding as Michael Barenboim. He succeeds in penetrating the various pieces to perfection. © 2018 Pizzicato

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