| “The exemplary performances by Jeppesen and theorbo player Catherine Liddell are immaculate in execution and played with the utmost sensitivity of phrasing and tonal beauty.” |
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| “There were fine moments, supplied mainly by the soprano Dominique Labelle, especially in the impassioned “Lettera Amorosa” (“Love Letter”), accompanied sparely and touchingly by the theorbo of Catherine Liddell.” |
James Oestreich, THE NEW YORK TIMES |
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| “It is always a sheer delight to hear Dominique Labelle; this duet with Liddell showcased their skills in a divine pairing with nuanced phrasings and articulations and tightly attuned shadings. This performance alone was worth the price of admission and I would love to hear them in this music again.” |
Cashman Kerr Prince, THE BOSTON MUSICAL INTELLIGENCER |
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| “Cathy Liddell's performance was breathtaking. But it wasn't just a concert. It was a story, told (and played) with such passion that many in the audience were close to tears. It was one of the most memorable performances I've witnessed in my entire life.” |
LUTE QUARTERLY, LUTE SOCIETY OF AMERICA |
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| “The brightest and most winning part of the evening's performance was Liddell's reading of a suite for lute alone...full of colorful shading and gradations of sound. Her phrasing called attention to the beauty of the instrument and to the melodic lines...the balance of melody and accompaniment was artfully maintained.” |
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| “Certainly, the highlight of the concert was Catherine Liddell's interpretation of Bach's Suite [BWV1007 for 'cello transcribed for lute by Catherine Liddell]. I do not believe that this preference is musical prejudice on my part, for in many ways the Suite was the most difficult work on the program to listen to because of its great length and its common association with the cello...In her performance Liddell demonstrated mastery of the music through an exquisite sense of timing and a subtle molding of each phrase. It created a musical experience that will be remembered for a long time.” |
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| “A couple of sets of variations gave Hsu and theorbo player Catherine Liddell ample opportunity to demonstrate their command of time. Their tight ensemble and subtle varying of pulse gave the audience...the aspect of overhearing a conversation between close friends.” |
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| “Catherine Liddell, on the theorbo...listened attentively and colored the words as responsively as the singers did.” |
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| “The grace and subtle expressiveness of Jeppesen and Liddell was transforming.” |
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| “Though she is known as a specialist in realizing (improvising) accompaniments to solo voice or instrument, Liddell's solo performance of a Preludio by Kapsberger on the theorbo was magnificent. She made it look easy.” |
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| “Miss Liddell…plays Gallot [with a] fine and subtle use of dynamics that makes full use of the clear tone and expressive possibilities of the Michael Lowe lute she employs…the result is a recital that should persuade even the most previously resistant listener of the subtle charms of this…repertoire.” |
THE LUTE SOCIETY (ENGLAND)/LUTE NEWS |
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| “This CD [La belle voilée] has been available for six years and has not yet been superceded. It rewards every effort to acquire it…one of the best recordings I have heard.” |
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| “Gallott's music, I think is the best from the style brise period, closely followed by the Gaultier’s, but Catherine Liddell's performance in my opinion tops the leaderboard for interpretation, tonality and a unique sensitivity and tenderness.” |
NIGEL PENDRED, reviewed on YouTube |
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