Reviews

“Sentient, supportive and truly musical accompanists are rare blooms indeed – and this one is blossoming more than nicely.”

Hilary Finch, The Times

“[Lorraine Hunt Lieberson] sang them with due commitment; and Christopher Gould, her astute and supportive accompanist, enjoyed their eloquently variegated piano writing.”

Hilary Finch, The Times

“[Gould] accompanied this heartbreaking aria with playing of the proper dignity and nobility. Gould is very young to be at this level, but his elevation will not have come as a surprise to anyone who heard him accompanying one of the finalists in last year’s Wigmore Hall Song Competition, and his playing from this point on was highly sympathetic without being servile. This aria was perfection: deeply moving in expression – so much so that there were people openly weeping all around me. ..…Debussy’s Beau soir gave Gould the chance to reveal his elegant, languid playing…”
“A naturally enthusiastic audience brought them back for four encores, beginning with an exciting Erlkönig in which Gould thundered out those gruesome octaves as though possessed and Hunt Lieberson characterized every individual part with real drama, especially in the malevolent spirit’s ‘so brauch ich Gewalt.”

Melanie Eskenazi, www.musicweb-international.com

“Foster-Williams was accompanied at the piano by Christopher Gould, whose performance and musical vigilance gave gravitas to the piece and showed the equal importance of the pianist to that of the singer. His sensitive and intelligent playing depicted neatly the many flourishes of Schubert’s score and Muller’s poems…”

Paul Dalton, Opera Britannia
[Gould] accompanied this heartbreaking aria with playing of the proper dignity and nobility. Gould is very young to be at this level, but his elevation will not have come as a surprise to anyone who heard him accompanying one of the finalists in last year’s Wigmore Hall Song Competition, and his playing from this point on was highly sympathetic without being servile. This aria was perfection: deeply moving in expression – so much so that there were people openly weeping all around me. ..…Debussy’s Beau soir gave Gould the chance to reveal his elegant, languid playing…”
“A naturally enthusiastic audience brought them back for four encores, beginning with an exciting Erlkönig in which Gould thundered out those gruesome octaves as though possessed and Hunt Lieberson characterized every individual part with real drama, especially in the malevolent spirit’s ‘so brauch ich Gewalt.