Imogen Cooper

Cooper describes [the Diabellis] as ‘a wonderful journey…I am instantly in a good mood when practising or performing this piece.’ And that is what overwhelmingly comes over in her superb recording…Cooper... — BBC Music Magazine, May 2019, 5 out of 5 stars More…

Throughout this superlative recital, Imogen Cooper's artistic sensibility - highly personal, interpretatively penetrating, yet never didactic - reflects a sympathy with the music so intimate... — BBC Music Magazine, April 2013, 5 out of 5 stars More…

Everything Cooper does speaks of long acquaintance and real empathy…her readings are unfailingly absorbing — Gramophone Magazine, October 2015 More…

It is difficult to imagine Debussy-playing more personal, suggestive or voluptuous. Cooper has lived with this music long and well…She gives us an Albéniz entirely her own, all the more vivid... — Gramophone Magazine, October 2019 More…

Cooper’s keyboard mastery is as searching as the music itself…her way of balancing chords mesmerises the ear – both in the consonant close of Sposalizio (whose poised opening is exquisitely... — BBC Music Magazine, May 2017, 5 out of 5 stars More…

In her early 70s, her technique remains supreme and for the most part her interpretations are entirely satisfying. For me, her Liszt is the most impressive of all, in which she remembers Brendel’s... — BBC Music Magazine, November 2021, 4 out of 5 stars More…

…Imogen Cooper is second to none in Schubert. The sound she so carefully makes is a glorious companion throughout, casting radiance on the first two Moments musicaux, the spellbinding last... — BBC Music Magazine, February 2010, 5 out of 5 stars More…

These performances were recorded live at a Queen Elizabeth Hall recital given in 2008. Free from the confines of the studio, Cooper rises to the occasion with performances that show a courageous... — Gramophone Magazine, September 2009 More…