"Listen close now and you will hear Fiorè prove just as daring, its interpretations just as edgy and original. One tour through these pieces and you will realize that Elinor Frey is evolving into a legendary cellist with this unmistakable sound all her own."
"In her hands, the possibilities of the Baroque cello are endless... you hear that Frey is not only about the rote mastery of chords. Instead, she infuses the music with emotion and feeling and a true depth of imagination. Suddenly, these centuries-old-pieces leap out at the walls, raw and vital and relevant."
— John Aiello, Electric Review
As Frey demonstrates once again, early cello music is unfailingly, uncommonly, and graciously beautiful, full of surprise; the overall effect on this recital is further enchanted by six operatic arias interleaved with the various cell items; the singer herself is an enchanting artist, the Canadian soprano Suzie LeBlanc. And Frey’s partners in crime throughout are as miraculously subtle and engaged as she, the legendary harpsichordist Lorenzo Ghielmi, and the eloquent young lutenist Esteban La Rotta.
— Laurence Vittes, Southern California Early Music Society Journal
Elinor Frey contributed an engaging solo moment with Jean-Pierre Duport’s Etude No. 8 for solo cello, simulating a duet between cello and continuo. Beautifully shaping its singing lines, she made an equally lyrical visit to the higher range of the instrument near the end of the piece.
— Daniel Hathaway, ClevelandClassical.com
Soutenue par le pianoforte attentif et délicat de Lorenzo Ghielmi, Elinor Frey pénètre avec beaucoup de profondeur et de sensibilité ce langage en mutation permanente. Virtuose aguerrie, capable d'abandon comme de la plus convaincante autorité, elle rend pleinement justice à ce répertoire peu fréquenté.
— Philippe Ramin, Diapason Magazine
Anyone numb to these overplayed [Bach] suites should go to her next concert.
— Lev Bratishenko, Montreal Gazette
Indeed, all of the music and the way it has been recorded and performed creates a magnetic effect. I am full of admiration for all of these musicians and the way they have brought these Berlin Sonatas to life. These may seem at first glance like a dry selection of composers but nothing could be further from the truth. We’re given a healthy dose of “the mid-century Berlin aesthetic” and come away feeling enlightened, elevated, and royally entertained.
— Dominy Clements, Musicweb International
Frey provides an extended essay to explain why she feels a five-string cello is appropriate, and likely originally intended, for this repertoire. She makes a strong case for the instrument, not only in her writing but more particularly in her performance, especially in two violin solo works by Benda, here heard one octave below their intended pitch.
— David Olds, The Whole Note
Frey’s careful scholarship and brilliant layering of moods and tempos on this, her second album, make for a great program…Frey’s assured technique and natural-sounding musicality. She is one of a growing number of younger performers who can make period instrumental solos sizzle with the same heat as artists using modern instruments and bows.
— John Terauds, Toronto Star
Enterprising Elinor Frey recreates the impact the new instrument had on the classical music establishment of the time with playing of eloquence and style; i.e., that probes the emotional edges of the music's beauty without entirely losing control.
— Laurence Vittes, Huffington Post
Frey’s playing is adroit, expressive and engaging; and she also appears to have the happy ability to marry her own voice to those of the composers, rather than getting in their way.
— Alison Melville, Whole Note Magazine
Of the eleven caprices, Frey has selected the more reflective of the works, demonstrating her vocalization of the line, and she is extremely persuasive in promoting them as mainstream repertoire.
— Joanne Talbot, The Strad
In addition to the honest, reflective beauty of her music making, Frey showcases the range of localizations which might have taken place based on bow grip. scordatura, and other variables.
— Laurence Vittes, Strings Magazine
Elinor Frey is on a one-woman mission to think outside Bach's solo cello suites.
— Robert Rowat, CBC Music
In La Voce del Violoncello, Frey gives a virtuoso performance: Her playing layered and instinctual, at one with the breadth of the notes. As you listen to the pieces on this recording, you come to realize that Frey is not merely playing music, but instead, feeling the impulses of the compositions rise through her being – pulsating through blood, consuming flesh and bones.
— John Aiello, Electric Review
The program here is little short of magical, and Elinor Frey's expressive playing and command of the baroque violoncello is remarkable to behold. It's quite obvious that the depth of her studies and explorations of this repertory has greatly informed the magnificence of her playing.
— Tom Gibbs, Positive Feedback Issue 71
Una gioia all’ascolto e una dolce compagnia al cuore.
— Franco Bruno, America Oggi
La giovane allieva statunitense Elinor Frey, di cui si è potuto ammirare l'indiscutibile e robusto talento.
— Giornale di Brescia 9/6/10
A superb cellist.
— Syracuse Post-Standard