Related Reviews
Audio Video Club of Atlanta
'...his reputation as a harpist with a demon technique has continued to grow.'
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AllMusic
4 Stars
'Magen plays cleanly and precisely, making every note fully audible, even at the softest dynamics, and he articulates inner details that could be missed among the sweeping glissandi and dense chordal passages…delightful.'
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Harp Column
'We’re particularly excited about French Reflections…Even if you’ve heard these works a gazillion times, you owe it to yourself to hear them again as performed by Magen.'
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Audiophile Audition
5 Stars
'A fine multichannel SACD of one of the most difficult solo instruments to record.'
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BBC Radio Scotland 'Classics Unwrapped'
'This is lovely, French harp music…[Tournier’s] Sonatine is stunning. The last movement requires great virtuosity, but that’s not a problem for the player who’s been called a magician when it comes to playing the harp. Here is Sivan Magen…the star of the harp world…glorious, glorious music, beautifully played.'
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The Sunday Times
'pure enchantment...one may feel the poetic "mysteriousness" of the instrument is inseparable from sheer meatiness of technique.'
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Sinfini Music
4 Stars
'Sivan Magen's latest album is a Francophone fantasy of virtuosity and sensuality, says Alexander Rider, who finds that elusive je ne sais quoi in this young harpist's refined performances.'
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Sivan Magen - French Reflections - The New York Times 'Artsbeat'


16 October 2015
The New York Times
Corinna da Fonseca-Wollheim

'The harp became an indelible part of the French musical landscape in the late 19th century. That landscape was, of course, itself in flux, and the harp’s new chromatic flexibility allowed it to reflect those changes, as this enchanting recording shows. From the dreamy “Une châtelaine en sa tour” by Fauré to the increasingly nervous inflections of the influential harpist and composer Marcel Tournier’s Sonatine (Op. 30) and Debussy’s “Estampes,” Mr. Magen’s playing is always responsive and richly colored. Two recent works, Philippe Schoeller’s “Esstal” and Bruno Mantovani’s “Tocar,” hark back to some of the exotic fever dreams of the fin de siècle even as they employ an entirely different harmonic language.'
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