"Dionysos Now! is a male vocal septet comprising two countertenors, three tenors (including founder and director Tore Tom Denys), one bass-baritone, and one bass. They produced a finely blended and balanced sound that, as Fr. Weber noted, emphasizes beauty over drama. [...] Highly recommended."

"C’è insomma in questo lavoro una vastità di spunti che il direttore recepisce, abbinando alla trasparenza del tessuto orchestrale - grazie a una eccellente Brussels Philharmonic che forse non raggiunge i paradisiaci virtuosismi timbrici delle orchestre più blasonate, ma si presta altresì ad assecondare la vena ispirata del direttore in ogni sua arditezza - un’iridescenza caleidoscopica mantenuta sempre su tonalità chiare e luminose, che non si addensano nemmeno negli slanci più veementi."

"Le texte de présentation de ce CD, très long, très savant - il traite de questions théoriques et pratiques très diverses - et très intéressant, est dû à Tom Beghin lui-même. Il utilise son « clavicorde préféré », d'après un modèle saxon d'environ 1760, aux belles sonorités, en joue nos six sonates avec précision, nuances et quand il le faut vigueur, en évitant toute précipitation et en laissant cette musique « parler aux cœurs », comme le souhaitait son auteur. Une grande réussite."

"Dentro de este [Dohnányi] corpus, destaca el Quinteto con piano n. 2 Op. 26 (1913-1914), que se ha beneficiado de una discre- ta restauración discográfica. A ella se suma este CD, muy bien grabado y presentado. En manos de Giacometti y del Zemlinsky, la misteriosa introducción se acerca más al Bartók secreto que al habitual- mente referenciado Brahms."

"Çeku creates a wonderfully equipped casket for Roth in which he can embed his exquisite violin sound. He creates or prolongs moods, he is always on the move as a helper, and so Linus Roth is able to interpret his narration to the full, implementing Vivaldi’s program here with virtuosity, there with delicacy. [...] this is a homage to beauty with a honeyed but never sugary sound, and the listener who has an ear for this beauty can absorb it through his senses and feel it deep in his heart, falling into a state of deepest touch."

"It's an exemplary project, with composer, performer/researcher and instrument in perfect symbiosis; and it's gorgeous, too."

“Les splendides Zemlinksy, épaulés par un formidable Paolo Giacometti, emportent les deux oeuvres dans un tourbillon de couleurs réfléchies de mille nuances…….”

"In comparison to Järvi’s and Gergiev’s “I have to catch a train” performances, Ono’s pacing smooths out a lot of the rough edges, some which are revealed all too clearly in slower performances (like Inbal, Petrenko, and the turgid Kitaenko)."

"Onder de handen van Deljavan gedraagt het klavier zich als een welbespraakte juffer: zachtaardig en genereus, flirterig maar nooit ordinair. Ook voor de violoncello piccolo is dit een applausvervanging: dankzij de transparante maar warme klank komen zowel het sprankelende contrapunt als de melodische escapades mooi tot hun recht. Maar het knapste aan deze opname is het hypnotiserende samenspel van de heren. Uit hun lentefrisse heen-en-weer in gedempt palet verheft zich geen briesende madonna à la Caravaggio maar een blozend ­Vermeer-meisje."

"L'interprete, inoltre, dopo avere approfondito le tecniche di arrangiamento di Daniel Steibelt e Louis Adam, ha elaborato una propria trascrizione dell'opera, attenta a valorizzare la stratificazione della scrittura contrappuntistica e le finezze della strumentazione beethoveniana. Ne esce una rilettura affascinante, ove musicolgia e realizzazione storica si intrecciano indissolubilmente. Completano il cofanetto brevi trascrizioni da opere di Gluck e di Haydn. "

"Sotto le sue mani la complessa architettura bachiana rivede la luce in una perfetta sintesi tra austerità ed espressività."

"Verità Baroque also shows its virtues in more intimate works, though full of contrasts, like Vivaldi’s Sonata no. 1 from Op. 1. The Sinfonia a 5 Op. 2 no. 6 by Albinoni becomes majestic in their hands, overflowing with elegance, and they perform the Concerto a 4 no. 1 by Galuppi expressively. Stunning, and with a dose of extravagance, is the thrilling interpretation of Vivaldi’s concert La Notte by soloist König-Tarasevich."

"Una nova interpretació prodigiosa del conjunt Dionysos Now!."

"Madrigales, “deploraciones”, motetes y la última obra de Willaert, el madrigal Dulce Padrum, componen un programa interesante, ya que muchas de estas obras permanecían inéditas."

"The performances on their first recording of JS Bach’s Branden- burg Concerto 5 and Orchestral Suite 2 were noted for “sweetness and vigor” by Mr Gor- man (Mar/Apr 2024). In addition to that, based on this second recording, I would add “drama”."

"This is a scintillating album, scintillatingly despatched."

„Ein junges internationales Ensemble, das sich Alter Musik aus Deutschland widmet."

„Recorded in the wonderful atmosphere of Schloss Köthen“

"The orchestral playing is impressive, right from the very beginning of the piece where, in the carefully laid out introduction, you sense that the orchestra is following the conductor with the intensity of a chamber performance. [...] Mr Ono’s enjoyably delivered performance has been well recorded in warm, rich, full-bodied sound that suits the repertoire well. At the same time, Ono skilfully balances his forces so that plenty of felicitous ne detail can be heard and appreciated."

"There is little doubt that Kazushi Ono has an instictive feeling for the music of Scriabin. In this warmly recorded release, which marks the opening instalment in a complete cycle, he charts the ebb and flow of emotions that characterise the Wagnerian Second Symphony with conviction. Ono knows when to push the music forward and project impetus and urgency, and where to hold back and allow for reflection and repose."

Ein immersives Erlebnis, aufgenommen in fünf deutschen Schlössern

"La Sinfonía n. 2, estrenada en 1902 en San Petersburgo, es una música de un sentimiento arrollador (todavía totalmente tonal), estructurada en cinco movimientos que, realmente, parecen tres (los dos primeros podrían ser uno solo dividido en andante y allegro, y el cuar- to y el quinto se relevan con enorme fluidez, mientras que el “Andante” central se alza como el corazón emocional de la obra). Las líneas melódicas, de profunda inspiración, y la orquestación, brillante (que lle- gará a su culmen en el Poema del Éxtasis) son defendidas en esta ocasión por una Brussels Philharmonic que se sitúa un paso más allá de la eficacia, sa- biamente dirigida por Kazushi Ono."

"The Karski Quartet with the added cello to fill out the instrumentation does a creditable job in these works. They are well integrated in terms of ensemble, and their intonation is accurate, their phrasing accounting for the sometimes quirky divisions in Boccherini’s music."

"Els músics dialoguen, estrenyen les distàncies. El que crida més l’atenció és la puresa dels seus timbres i els frasejos, bellament articulats."