Featured Coverage
The Times (UK) 30 March 2026
“The ten best classical albums to listen to this month: Pashchenko and her fellow musicians stay fleet-footed, subtle and adroit, never overdramatising or otherwise bending Mozart’s delicious music out of shape. A delightful album.”
“From the first bars of the B flat Concerto we are surrounded by the rare, vivid and occasionally plangent sound world of Il Gardellino’s gut strings and raucously prominent winds. When Pashchenko adds her voice to the ensemble, the whole becomes a variegated tapestry of blended colours.”
La Libre Belgique (BE) 18 February 2026
“Comme le confirment incidemment les pochettes des albums (on est cette fois dans les dominantes vertes), Olga Pashchenko est une coloriste de haut vol, avec également un sens théâtral consommé. Ses lectures sont riches en nuances, et le dialogue avec Il Gardellino a toutes les vertus de la musique de chambre.”
“As incidentally confirmed by the album covers (this time with dominant green tones), Olga Pashchenko is a top-flight colorist, with a consummate theatrical sense as well. Her interpretations are rich in nuances, and the dialogue with Il Gardellino has all the virtues of chamber music.”
Diapason d’Or (FR) March 2025
La délicatesse des phrasés, la netteté des articulations, la vigueur des lignes de basse, le relief très vivant des tempos contribuent au charme puissant de cette anthologie, que nous parcourons le sourire aux lèvres comme si l’on feuilletait l’album de photographies d’une famille heureuse.
The delicacy of the phrasing, the clarity of the articulations, the vigor of the bass lines, the very lively relief of the tempos contribute to the powerful charm of this anthology, which we browse with a smile on our lips as if we were leafing through the photo album of a happy family.
Gramophone (UK) April 2025
“Pashchenko’s absolute mastery of this 1836 Graf, built during the maker’s peak period between 1822 and 1842, plays a significant role in these performances’ brilliance. The strikingly different sounds of the registers, a quality that has been lost in modern instruments, open fresh realms of colours and moods.”
BBC Music Magazine (UK) April 2025
“Whether it’s in the tumultuous restless numbers, the flowing gondolier songs, the tragic pomp of the funeral march or the spritely step of a spring song, Pashchenko gives us eloquence and emotion, passion and poetry. The title might hook you in, but it’s the sheer life force of her playing that will make you stay.”
Le Monde (FR) 15 March 2025
“Il n’y a qu’Olga Pashchenko pour jouer de la sourdine et du clavier d’un instrument ancien avec une telle maestria.”
“Only Olga Pashchenko could play the mute and keyboard of an ancient instrument with such mastery.”
L’Echo (FR) 29 March 2025
“Le timbre velouté et la rondeur harmonique de ce magnifique instrument d’époque offrent la palette sonore idéale pour ces trente pépites pianis-tiques. Pashchenko en polit le brillant avec une grâce dépouillée de toute vaine exubérance, au service d’une poésie qui n’a rien de suranné. Et dont elle chante la dernière strophe avec un émouvant nocturne. De Fanny, bien sûr.”
“The velvety timbre and harmonic roundness of this magnificent period instrument offer the ideal sonic palette for these thirty piano gems. Pashchenko polishes its brilliance with a grace stripped of all vain exuberance, in service of a poetry that is anything but outdated. And of which she sings the last verse with a moving nocturne. From Fanny, of course.”
Scherzo (ES): October 16, 2024
“Here is a shamelessly theatrical Mozart, almost contemporary with The Marriage of Figaro , whose spirit is transparent in both concertos. The pianoforte embodies characters without dissimulation, and Pashchenko herself confesses this in the libretto: it is a matter of recording a piece of theatre . The result is dazzling.The Russian pianist is one of today’s keyboard stars and shines equally brightly in Mozart as in Ligeti.”
Diapason ( FR) Sept, 2025
“Par bonheur, le jeu de Pashchenko est plus qu’inspiré : il est possédé et entraîne l’orchestre avec elle. Ce Mozart est absolument préromantique, voguant comme à l’intuition.”
“Fortunately, Pashchenko’s playing is more than inspired: it is possessed and carries the orchestra along with her. This Mozart is absolutely pre-Romantic, sailing as if by intuition.”
Classic FM (UK) Album of the Week 8 July 2024
“Album of the Week: Two years after Pashchenko’s recording of Mozart’s piano concertos KV 271 and KV 459, she returns for the concertos KV 466 and KV 488, which represent an almost dramatic, pre-Romantic theatricality, and are sometimes seen as the precursors of two of Mozart’s greatest masterpieces: the Requiem and Le nozze di Figaro.”
The Spectator (UK) 12 August 2024
“The most exhilarating ‘authentic’ Mozart I’ve ever heard” Grade: A+ … You may think we don’t need another recording of these two piano concertos – but you’d be wrong.”