"...the elegantly shaped bowed lines contrasting with the gently pointed bass notes and occasional flourished chord – simply exquisite. Full marks then for discovery and execution!"
— Brian Clark, Early Music Review
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
Anyone numb to these overplayed [Bach] suites should go to her next concert.
— Lev Bratishenko, Montreal Gazette
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