Accompanist

Malcolm Martineau

Malcolm Martineau was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in 2004, and appointed International Fellow of Accompaniment in 2009. Malcolm was the Artistic Director of the 2011 Leeds Lieder Festival. He was awarded an OBE in the 2016 New Year’s Honours.

© KK Dundas

Introduction

Malcolm Martineau is one of the world’s greatest accompanists. He appears throughout Europe, North America, the Far East and Australasia with many of the world’s greatest singers and records widely for the major recording companies. Recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel (for Deutsche Grammophon), Schubert and Strauss recitals with Simon Keenlyside (for EMI), recital records with Angela Gheorghiu and Barbara Bonney (for Decca), Magdalena Kozena (for DG) and Della Jones (for Chandos), the complete Faure songs with Sarah Walker and Tom Krause, the complete Britten Folk Songs for Hyperion and the complete Beethoven Folk Songs for Deutsche Grammophon. Other recordings include the complete  Poulenc and Mendelssohn songs, Schubert with Florian Boesch, My True Love Hath My Heart with Dame Sarah Connolly, Heimlische Aufförderrung and Scene! with Christiane Karg, Portraits with Dorothea Röschmann, Reger with Sophie Bevan.


Performance Schedule

  • 19:30 21 Apr 2018 Leeds College of Music, LEEDS More info  

    FRANZ SCHUBERT Auf der Donau D 553
    FRANZ SCHUBERT Fahrt zum Hades D.526
    FRANZ SCHUBERT Grenzen der Menschheit D 716
    FRANZ SCHUBERT 3 Gesänge D 902: 1. L’incanto degli occhi
    FRANZ SCHUBERT 3 Gesänge D 902: 2. Il traditore deluso
    FRANZ SCHUBERT 3 Gesänge D 902: 3. Il modo di prender moglie
    Interval
    FRANZ SCHUBERT Schwanengesang D 957

    Bass: Matthew Rose
    Piano: Malcolm Martineau

  • 15:00 12 May 2018 Pfarrkirche St Georgen, GEORGEN ATTERGAU More info  

    FRANZ SCHUBERT Winterreise D911

    Baritone: Florian Boesch
    Piano: Malcolm Martineau

  • 20:15 24 May 2018 venue TBC, city TBC More info  

    Baritone: Thomas Oliemans
    Piano: Malcolm Martineau

  • 19:30 27 May 2018 Wigmore Hall, LONDON More info  

    FRANZ SCHUBERT Schwanengesang (Rellstab): 1. Liebesbotschaft
    FRANZ SCHUBERT Schwanengesang (Rellstab): 2. Kriegers Ahnung
    FRANZ SCHUBERT Schwanengesang (Heine): 1. Der Atlas
    FRANZ SCHUBERT Schwanengesang (Heine): 5. Am Meer
    FRANZ SCHUBERT Schwanengesang (Heine): 6. Der Doppelgänger
    FRANZ SCHUBERT Ständchen
    FRANZ SCHUBERT An den Mond in einer Herbstnacht D614
    FRANZ SCHUBERT Dass sie hier gewesen
    FRANZ SCHUBERT Schwanengesang (Heine): 4. Die Stadt
    FRANZ SCHUBERT Im Abendrot, D. 799
    FRANZ SCHUBERT Schwanengesang (Heine): 3. Das Fischermädchen
    FRANZ SCHUBERT Schwanengesang (Rellstab): 7. Abschied
    Interval
    FRANCIS POULENC Tel jour, telle nuit
    FRANCIS POULENC Bonne journée
    FRANCIS POULENC Une ruine coquille vide
    FRANCIS POULENC Le front comme un drapeau perdu
    FRANCIS POULENC Une roulotte couverte en tuiles
    FRANCIS POULENC A toutes brides
    FRANCIS POULENC Une herbe pauvre
    FRANCIS POULENC Je n’ai envie que de t’aimer
    FRANCIS POULENC Figure de force brûlante et farouche
    FRANCIS POULENC Nous avons fait la nuit
    FRANCIS POULENC Suite française for solo piano FP 80: II. Pavane
    FRANCIS POULENC Mazurka FP 145
    FRANCIS POULENC Métamorphoses FP 121: 3. Paganini
    FRANCIS POULENC Quatre Poèmes de Guillaume Apollinaire: 1. L’Anguille
    FRANCIS POULENC Quatre Poèmes de Guillaume Apollinaire: 2. Carte-Postale
    FRANCIS POULENC Quatre Poèmes de Guillaume Apollinaire: 3. Avant le cinéma
    FRANCIS POULENC Quatre Poèmes de Guillaume Apollinaire: 4. 1904
    GABRIEL FAURÉ Rêve d’amour
    GABRIEL FAURÉ Spleen
    GABRIEL FAURÉ Poème d’un jour Op. 21: 1. Rencontre
    GABRIEL FAURÉ Poème d’un jour Op. 21: 2. Toujours
    GABRIEL FAURÉ Poème d’un jour Op. 21: 3. Adieu

    Baritone: Simon Keenlyside
    Piano: Malcolm Martineau

  • 20:00 11 Jun 2018 Opera de Bordeaux, BORDEAUX CEDEX More info  

    Mezzo Soprano: Elina Garanca
    Piano: Malcolm Martineau

  • 18:00 12 Jun 2018 Frankfurt Opera, FRANKFURT More info  

    Mezzo-soprano: Tanja Ariane Baumgartner
    Piano: Malcolm Martineau

  • 11:00 15 Jun 2018 Schloss Elmau, KRUN More info  

    Bass-Baritone: Florian Boesch
    Piano: Malcolm Martineau

  • 15:00 24 Jun 2018 Snape Maltings Concert Hall, SAXMUNDHAM More info  

    JOHN IRELAND Sea Fever
    JOHN IRELAND The Vagabond
    JOHN IRELAND The bells of San Marie
    ROGER QUILTER 3 Songs, Op. 3, No. 2. Now sleeps the crimson petal
    ROGER QUILTER Weep you no more sad fountains
    ROGER QUILTER 5 English Love Lyrics, Op. 24, No. 3. Go lovely rose
    ROGER QUILTER 7 Elizabethan Lyrics Op. 12: 7. Fair House of Joy
    JOHANNES BRAHMS Vier Ernste Gesaenge Op. 121
    Interval
    FRANZ SCHUBERT Trinklied D267
    FRANZ SCHUBERT Ständchen
    FRANZ SCHUBERT An Silvia D891
    ROGER QUILTER Come away death
    ROGER QUILTER Oh mistress mine
    ROGER QUILTER Blow blow thou winter wind
    GWYNN WILLIAMS My little Welsh home
    GWYNN WILLIAMS Tosturi Duw
    OWEN WILLIAMS Sul y Blodau
    BRYAN DAVIES Ar lan y môr/ Deryn y bwn
    BENJAMIN BRITTEN The Sally Gardens
    BENJAMIN BRITTEN The Foggy, Foggy Dew
    AARON COPLAND At the River
    AARON COPLAND Ching a ring chaw

    Bass-Baritone: Sir Bryn Terfel
    Piano: Malcolm Martineau

  • 20:00 30 Jun 2018 Angelika-Kauffmann-Saal Schwarzenberg, SCHWARZENBERG More info  

    Tenor: Christoph Pregardien
    Piano: Malcolm Martineau

From The Green Room

Discography

  • 25 Mar 18 Recital, Susan Graham
    Washington University, St. Louis
    More info  

    “Martineau is the consummate musical partner, supporting and assisting while playing flawlessly. It’s no mystery that he’s sought after by so many of the world’s great singers.”
    Sarah Bryan Miller, St. Louis Today, 26 March 2018

  • 13 Feb 18 Recital, Dorothea Röschmann
    Carnegie Hall, New York
    More info  

    “The familiar “Kennst du das Land” was magnificent in every way, expressive of the poem’s varying moods, with delicious lower notes and the words so clear and finely-coloured; and Mr. Martineau here was divine… Mr. Martineau beautifully sustained the poetry with his transportive playing of the postlude. ”
    Oberon’s Grove, 14 February 2018

  • 08 Feb 18 Recital, Dorothea Röschmann
    Vocal Arts, Washington
    More info  

    “The fluttering notes in the breathless “Dahin” sections of “Kennst du das Land” were a particular highlight from Martineau at the piano, as were the endless gradations of soft sound in the introduction to the standalone song “Nachtstück.”
    Charles T. Downey, Washington Classical Review, 9 February 2018

  • 16 Jan 18 Recital, Dorothea Röschmann
    Royal Conservatoire of Scotland, Glasgow
    More info  

    “Franz Schubert’s settings of his verse, followed by Nachtstuck, setting Johann Mayrhofer, saw her in full expressive mode from the beginning, with Martineau, as always, the most observant of partners. In the Mahler Ruckert-Lieder that followed – a distinctly different dramatic approach seemingly agreed in their minute off-stage – the poise in his playing, and in the transition between songs, was the perfect accompaniment to her incredible instrument and her remarkable fluctuation in dynamics between syllables of the same word.”
    Keith Bruce, Herald Scotland, 17 January 2018

  • 27 Oct 17 MENDELSSOHN Complete Songs, Vol. 3: Fanny Hensel, 'The Other Mendelssohn'
    More info  

    “Her songbook, delivered here by four international singers and the pianist Malcolm Martineau, draws on Schiller, Goethe, Lenau, Klopstock and Heine – whom Fanny ardently disliked. Her musical style has more in common with the young Schumann than it does with her brother. The heart is worn recklessly on her sleeve; the words fit the music like a kid glove. Clearly intended for home use, the songs were never designed to be heard end to end, but there are many high points, notably the Wanderers Nachtlied, which hints at untapped depths of loneliness. Her style betrays no hint of deference or insecurity. Fanny Hensel is a mature composer, barely bothering to look over her shoulder at what her brother is up to.
    The young singers – Susana Gaspar (Portugal), Gary Griffiths (Wales), Manuel Walser (Switz.) and Kitty Whaley (England) – are almost overly enthusiastic about these excellent songs.”
    Norman Lebrecht, MyScena, 23 February 2018

  • 09 Aug 17 Recital, Sir Bryn Terfel
    Usher Hall Edinburgh
    More info  

    “…Terfel sang a selection of water-themed Schubert songs with consummate ease, his lilting ­melodies floating over Martineau’s quicksilver piano accompaniment.”
    Susan Nickalls, The Scotsman, 11 August 2017

  • 15 May 17 Decades: A Century of Song, Vol 2, 1820-1830
    More info  

    “It’s an intriguing look at a creative tradition that dominated the salon music of the 19th century … Martineau’s empathetic pianism is the steadying omnipresence.”
    Fiona Shepperd, Scotsman, 15 May 2017

  • 05 May 17 FAURE Complete songs collection Vol 2
    More info  

    “Fauré’s elusive mix of fragility and strength always shines through, with Malcolm Martineau ever an authoritative, agile and responsive pianist.”
    Fiona Maddocks, The Observer, 7 May 2017

    “…Fauré’s elusive mix of fragility and strength always shines through, with Malcolm Martineau ever an authoritative, agile and responsive pianist.”
    Fiona Maddocks, The Guardian, 7 May 2017

  • 23 Apr 17 Recital, Susan Graham
    Shriver Hall, Baltimore
    More info  

    “The mezzo-soprano’s local debut featured the ingenious, revelatory “Frauenliebe und -leben: Variations” program that she and first-rate pianist Malcolm Martineau put together a few years ago, a program that has understandably earned them plaudits.

    Throughout, Martineau provided invaluable partnering. He produced an orchestra’s worth of tonal textures, a poet’s range of temperament and nuance.

    The several keyboard codas along the way gave him an extra opportunity to reveal his artistic sensibilities, as in the tolling bell-like conclusion of that Granados lament.

    The extended piano solo that ends Schumann’s cycle — repeating the music from the beginning, as if to say this woman’s life might have another chapter — was phrased by Martineau with particular incisiveness.”
    Tim Smith, Baltimore Sun, 26 April 2017

     

  • 19 Apr 17 Recital, Anne Schwanewilms
    Theater of the Arts, Washington DC
    More info  

    “Her partner, pianist Malcolm Martineau, set the stage admirably, for example, in the lilting triplet motif in “Traum durch die Dämmerung” and other delicate textures at the keyboard.

    Schwanewilms consistently produced a placid and controlled sound, animated by a caressing of the poetry in her diction, married to the judicious touch of Martineau at the piano.”
    Charles T. Downey, Washington Classical Review, 21 April 2017

    “Her unfailingly elegant and insightful pianist Malcolm Martineau proved a sterling partner all evening.”
    Washington Post, 21 April 2017

  • 19 Mar 17 Recital, Miah Persson
    US Tour
    More info  

    “Mr. Martineau played sensitively, with special alertness to the dissonant elements that activate Schumann’s harmonic language.”

    Anthony Tommasini, New York Times, 23 March 2017

    “And Martineau’s ability to enchant and close each song with unspoken eloquence at the piano was quite something.”

    Stephanie Adrian, Arts ATL, 28 March 2017

  • 25 Aug 16 Florian Boesch
    Edinburgh International Festival
    More info  

    “…the communication between him and pianist Malcolm Martineau – absolutely on peak form here – could not have been more immediately obvious in the rhythms, pauses and dynamics. The animation they both later brought to Impatience was another revelation: Boesch and Martineau are quite simply the people you want to hear perform this work…”
    Keith Bruce, Herald Scotland, 25 August 2016

  • 15 Aug 16 Magdalena Kozena
    Edinburgh International Festival
    More info  

    “…he remains as expressive and sensitive a partner of singers as ever.
    Neither the Wolf sequence not the Schoenberg songs would have been the
    same without him, with much of the musical wit in the performance
    emanating from his fingers.”

    Keith Bruce, Herald Scotland, 15 August 2016

  • 01 Jul 16 Songs by Max Reger
    Sophie Bevan ; Hyperion
    More info  

    “Martineau is consistently immaculate as an accompanist.”
    Andrew Clements, The Guardian, 4 August 2016

  • 17 Jun 16 Faure: Complete Songs Vol.
    Signum Classics
    More info  

    “Malcolm Martineau, number one pianist of choice for so many singers, follows his Poulenc series for Signum with another survey of a French composer’s songs. Fauré’s music here benefits from his light but purposeful touch and mercurial responsiveness to the words of his singers – a team of eight, mixing experience and freshness.
    Martineau is in his element throughout, guiding the songs unerringly and keeping sensuality and simplicity in balance.”
    Erica Jeal, The Guardian, 7 July 2016

    “The last word here, though, belongs to Malcolm Martineau. Make that five words: collaborative, sensitive, virtuosic, insightful, indefatigable. Fauré makes insistent use of arpeggios in his accompaniments, but has anyone made these sing more eloquently? The pianist’s fingers dance across ‘Le papillon et la fleur’ as though it were one of Satie’s cabaret songs; they ripple gently beneath ‘Rencontre’, heat up the febrile clusters of ‘Toujours!’ and find reams of expression in the pared-back writing of Le Jardin clos. Martineau is a pure and faithful interpreter of Fauré, and Signum’s secret weapon.”
    Mark Valencia, Classical Source, August 2016

  • 28 Feb 16 Anna Netrebko
    Metropolitan Opera
    More info  

    “…Mr. Martineau played beautifully throughout the program, bringing refinement yet appropriate fervor to the music.”
    Anthony Tommasini, New York Times, 29 February 2016

    “Martineau… played with a silvery agility all afternoon. He responded to Netrebko with exciting immediacy and offered ideas back to her in a stimulating collaboration. Their light touch together on Rimsky-Korsakov’s “To the realm of roses and wine” was in contrast to the album and exemplary of the beauty of the concert…”
    George Grella, New York Classical Review, 29 February 2016

  • 17 Aug 15 Sarah Connolly
    Queen's Hall, Edinburgh
    More info  

    “The still serenity of Connolly’s enveloping tone with sparkling accompaniment like twinkling stars from Martineau was exquisite in Erwartung (Waiting).”
    Carol Main, The Scotsman, 18 August 2015

    “Together thier soft-hewn, intricate, supremely conversational detail was captivating…. Martineau a flawless scene setter.”
    Kate Molleson, The Herald, 18 August 2015

  • 16 Jun 15 Scene!
    Christiane Karg; Arcangelo
    More info  

    “In Mozart’s ravishing Ch’io scordi mi te, Karg complements the delicate tones of Malcolm Martineau’s fortepiano in an unusually intimate performance…”
    Richard Wigmore, Gramophone, July 2015

  • 26 Jan 15 Portraits
    Dorothea Röschmann; Sony
    More info  

    “Röschmann’s pianist, Martineau, is exceptional — almost the most beautiful passage on the disc is the postlude to Morgen. Astonishingly, this is the singer’s first disc of Lieder since her 2002 joint Schumann album with Ian Bostridge. Now she is at the height of her powers, vocally. Her rich, silver-flecked soprano brings a rare expressive and passionate intensity to Schubert’s famed Gretchen am Spinnrade and to Wolf’s Mignon singing Kennst Du das Land? (Do you know the land where the lemon-tree blossoms?)”

    Hugh Canning, The Sunday Times, 25 January 2015

  • 09 Jun 15 Mahler/Schoenberg CD
    Onyx Classics
    More info  

    “…the heartfelt performance by Anne Schwanewilms and meltingly beautiful accompaniment by Malcolm Martineau – just listen to that carefree song in the piano on Wenn dein Muetterlein   – make this compelling listening…”
    Claudia Pritchard, Independent, 31 May 2015

    “Malcolm Martineau provides piano accompaniment of a variety and intimacy that suits the songs perfectly, perhaps more so than the usual orchestral version.”
    Fiona Maddocks, The Observer, 26 July 2015

  • 16 Nov 14 SCHUBERT Schwanengesang
    Florian Boesch; Onyx
    More info  

    “Martineau’s playing could hardly be bettered.”
    Hugh Canning, The Sunday Times, 16 November 2014

  • 13 Nov 14 No Exceptions No Exemptions
    Robin Tritschler; Signum Classics
    More info  

    “Armed with the sensitive Malcolm Martineau as his accompanist…”
    Geoff Brown, The Times, 13 November 2014

    “The gifted tenor Robin Tritschler’s singing is nuanced sensitively, while the pianist Malcolm Martineau is, as always, an astute partner.”
    Stephen Pettitt, The Sunday Times

  • 21 Oct 14 Recital with Elina Garanca
    Barbican Centre
    More info  

    “Garanča, accompanied everywhere with huge flair and sensitivity by Malcolm Martineau, found a fierce sensuousness within her mezzo — though in Leises Lied and All mein’ Gedanken a new translucency and weightlessness too.”
    Hilary Finch, The Times, 23 October 2014

  • 10 Sep 14 Recital with Sir Thomas Allen
    Wigmore Hall
    More info  

    “Yet there was never really any doubt that Allen’s art, beautifully supported by pianist Malcolm Martineau, would in the end conquer nature…Allen’s wit and pointedness, as well as his sheer stage presence, came to the fore in Ravel’s richly quirky animal settings, Histoires Naturelles, with Martineau again excellent in the lustrous piano part.”
    Martin Kettle, The Guardian, 10 September 2014

  • 07 Jul 14 Heimlische Aufförderung
    Christiane Karg; Berlin Classics
    More info  

    “The enraptured unfurling of sound in Malcolm Martineau’s piano introduction creates dappled light for Christiane Karg’s long, warm-breathed phrasing in Das Rosenband, a radiant start to this recital….Karg’s Ophelia Songs are moving in their bleached, waif-like tones, their distracted volatility nicely recreated in the fingers of Martineau.”
    Hilary Finch, BBC Music Magazine August 2014

    This is a great disc from a wonderful singer, but is the greater for the exquisitely-sensitive pianism of Malcolm Martineau, whose dynamic shading and heart-stopping timing lie at the core of these magical performances and re-define the words “accompaniment” and “collaboration”.
    Michael Tumelty, The Herald, 13th July 2014

  • 08 Jun 14 Dorothea Röschmann
    Wigmore Hall
    More info  

    “After the interval came four ravishingly coloured Strauss songs, with Morgen’s “speechless silence of bliss” exquisitely rendered by Malcolm Martineau in the postlude. Then came Hugo Wolf’s Mignon lieder, the waves emanating from Martineau’s piano alternately battering and lapping gently against the melody’s dolorous contours in Kennst du das Land.

    Röschmann’s gorgeously tempered soprano can fill the Wigmore Hall with ease…But it was the consummate artistry of both singer and pianist that made this recital such joy, and pain, to behold.”

    Guy Dammann, The Guardian, 11 June 2014

  • 24 Apr 14 DUPARC Songlives
    Wigmore Hall
    More info  

    “Malcolm Martineau did marvels with the quasi-orchestral piano accompaniments, from the rippling arpeggios of L’Invitation to the tempestuous seascape of La Vague et la Cloche, complete with crashing waves and clanging bell.”
    Barry Millington, Evening Standard, 24 April 2014

    “Songlives is the Wigmore Hall concert series dreamt up by lieder supremo Malcolm Martineau to explore a composer’s whole life, chronologically, through his output…Kudos to Martineau for a small but perfectly balanced selection, and he relished Duparc’s rich piano lines…”
    Neil Fisher, The Times, 25 April 2014

    “Buoyed by Malcolm Martineau’s piano playing…”
    Hannah Nepil, Financial Times, 24 April 2014

    “Hearing Duparc done on a large-ish scale is to be reminded of just how Wagnerian he is (Elégie is straight out of Tristan und Isolde), a point also emphasised by Martineau’s big-boned, intensely lyrical playing.”
    Tim Ashley, The Guardian, 24 April 2014

  • 01 Feb 14 The complete songs of Poulenc: Vol.4
    Signum
    More info  

    “…and in this fourth volume his piano-playing continues to lend a keen and characterful edge to the various musical pictures that Poulenc creates… The rhythmic teases of the Poèmes de Ronsard are cunningly negotiated by Martineau…”
    Geoffrey Norris, Gramophone, February 2014

  • 18 Dec 13 Recital with Simon Keenlyside
    Barbican Centre
    More info  

    “Martineau’s understated virtuosity was most obvious in the Wolf songs that opened the second half, their multiple ambiguities conveyed by both performers without any hint of preciousness or emotional artifice. There was superb pianism, too, in the Schubert and especially Brahms sequences, in which Keenlyside’s concern with searching out meanings that other singers overlook was perfectly matched by insights from his keyboard partner.”
    George Hall, The Guardian, 19 December 2013

    “Most important, he sings the poetry as if every word matters, whether in English or German, and with Malcolm Martineau as the subtlest of accompanists, there was plenty of light and shade among the prevailing gloom.”
    Richard Fairman, Financial Times, 19 December 2013

  • 26 Nov 13 SCHUBERT Die schöne Müllerin
    Florian Boesch; Onyx
    More info  

    “…an exceptionally vivid and dramatic account of the cycle, full of fierce anger and tenderness…thanks to the natural brightness of Boesch’s voice and the sensitivity and subtlety of Malcolm Martineau’s outstanding piano playing.”
    The Sunday Times, 24 November 2013

    “…with Malcolm Martineau energetically complicit, Boesch presents a robust young wanderer, his voice relaxed and comfortably focused enough to leave the minutiae of emphasis and expressive nuance to Martineau’s fingers.”
    BBC Music Magazine, February 2014

  • 01 May 13 As You Like It
    Nicky Spence; Resonus
    More info  

    “…Martineau give[s] equally affecting performances while communicating a real ink-still-wet-on-the-page vitality.”
    Robert Levett, International Record Review, May 2013

  • 01 Mar 13 Lieder for the turn of a century
    Champs Hill Records
    More info  

    “Accompanied with panache by Malcolm Martineau…a judicious mix of not-too-brash bravado and playful sensuality makes this performance just the ticket.”
    Richard Fairman, Gramophone, March 2013

  • 01 Mar 13 Virgins, Vixens and Viragos
    Onyx
    More info  

    “Abetted by Malcolm Martineau’s richly coloured playing…Graham and Martineau catch the sensuality of the opening song without traducing the composer’s request for simplicity, and perfectly judge the mix of aristocratic refinement and Monmartre cabaret languor in ‘Violin’. ‘Il vole’ (the fiendish keyboard part brilliantly despatched by Martineau)…”
    Richard Wigmore, Gramophone, March 2013

  • 08 Feb 13 Canciones espanolas
    Hyperion Recording
    More info  

    “Soprano Sylvia Schwartz’s reputation as a rising star is confirmed by her Hyperion debut album, a programme of songs from her native Spain, finely accompanied by Malcolm Martineau.”
    Tim Ashley, The Guardian, 7 February 2013

    “The mixture is perfect for this programme of Spanish songs, some barely a minute long, all beautifully characterised by the soprano and her accompanist Malcolm Martineau.”
    Anna Picard, The Independent, 3 March 2013

    “Schwartz shows a wonderful voice, warm responsiveness to the texts and perfectly idiomatic Spanish…Martineau is, as ever, the perfect collaborator.”
    Classical Music Magazine, April 2013

Interviews

Read Malcolm’s feature in Opera News about his hometown Edinburgh.