Review: Montrose Trio

In the latest Rennolds Chamber Concerts program at VCU’s Singleton Arts Center, the Montrose Trio gave one of the finest chamber-music performances in recent Richmond seasons in a delectable if debatable interpretation of an early masterpiece by Brahms.

Clarke Bustard, Letter V: Virginia Classical Music Blog

"The Turina was a fine introduction to the sterling qualities of the performers. Violinist Beaver displayed a remarkably beautiful tone and a finely tuned sense of phrasing, while cellist Greensmith revealed an almost vocal quality to his playing, which brought an extra measure of interest to an instrument that can often be subsumed in a trio setting."

Zachary Lewis,

"The totally integrated principals – Ani Kavafian and Nicolas Dautricourt, violins; Paul Neubauer, viola; Clive Greensmith, cello; and Michael Brown, piano – collaborated in refined harmony..."

Dr. Gary Lemco, Peninsula Reviews

The Montrose Trio did it proud, supplying every ounce of artistry in delivering an impressive performance that would have made the master happy.

Garaud MacTaggart, The Buffalo News

...Tchaikovsky gave the piano greater prominence in the opening movement, in which Montrose pianist Jon Kimura Parker reveled with unalloyed ardor and consummate artistry. Fortunately, the Piano Trio’s lengthy other movement, constructed on a theme with eleven variations, gave ample opportunity for violinist Martin Beaver and cellist Clive Greensmith to demonstrate their polished technique and sympathetic realization of sumptuous melody.

Ken Herman, San Diego Story

A bittersweet melody introduced by the cello and, later, explored by the violin in "A City Mourned" provides a telling reflection. Lee lets loose with wonderfully aggressive, jumpy material for all three instruments in the fourth movement, "Final Resolutions"; the piano has some particularly wild outbursts. A contrasting touch of other-worldliness along the way gives the music additional depth before a closing dash.

Tim Smith, The Baltimore Sun

" the opening “Ophelia’s Song,” a duet with Greensmith and soprano Lyubov Petrova, he made his line soar, and ache, and caress, without histrionics and with an unusual consistency of tone."

James Chute, The San Diego Union-Tribune

"Their performance delivered absolutely top-notch music-making, as fine as one could ever expect to hear." 

Robert Battey, The Washington Post

"The overall approach to the piece is beautifully balanced, with the four playing as if they are one. Ultimately, this late-Romantic, overtly emotional music is a mighty fine way for this quartet to close its glorious 44-year history."

John Terauds, Musical Toronto
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