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| The Evening Standard |
| Dvorak Concerto at the Proms with Sakari Oramo and the CBSO |
| “Gerhardt steals the show |
| Last night's replacement cellist, Alban Gerhardt, was no disappointment. He played Dvorak's Cello Concerto (Prom39) with fresh, young passion and a bow like a rapier as he dealt with two lines at once in the cadenza. He held the attention even when somebody else in the City of Birmingham Symphony Orchestra had the tune. His accompanying arpeggio figures never slid into automation nor his tone into the background. He appears again in Prom 66, a concert to savour…” |
| Rick Jones, August 19, 2001 |
| Beethoven Tripleconcerto at Proms w.Scottish BBC, O.Vänskä, S.Osborne, L.Batiasvhili |
| “...Last night the Proms reached a great climax. Osmo Vänskä conducted Beethoven's Triple Concerto and Choral Symphony (Prom 66)…Young soloists Elisabeth Batiashvili, Alban Gerhardt and Steven Osborne sparred brilliantly...” |
| September 9 2001 |
| First Shostakovich Celloc Concerto at the Proms in London with RSNO and Alexander Lazarew: |
| “The German cellist Alban Gerhardt looked...when he saw the size of last night's audience. He soon settled. The very first notes of Shostakovich's Cello Concerto No 1 belong to him and he arrested the hall with the finesse of his touch. His keen-edged line sang in urgent four-syllable phrases of loss and mounting panic. The orchestra pounded out the composer's initials in the now-familiar musical code. Gerhardt duetted long and hard with the shadowing horn, disagreeing but once, and his cadenza was an eloquent dirge that hushed the 6,000. The communal silence was magical...” |
| Rick Jones, August 11 2000 |
| London Wigmore Hall Millennium Concert: |
| “…There were several top-class performances and one great one. That was the Berliner Alban Gerhardt'’ account of Kodaly's rarely heard Solosonata…Gerhardt displayed breathtaking dexterity all over the fingerboard. His instrument sang with a cast list of voices…The work is as proud and unapologetic as plumage, and the memory of Gerhardt’s vivid, imperious, mesmeric and full-frontal rendition of it will last…” |
| Rick Jones, January 5, 2000 |
