"Mais l’implication totale de Finghin Collins permet là aussi de façonner une interprétation séduisante du chef-d’œuvre. Son toucher est nuancé, sa vision claire et inspirée. Une virtuosité prodigieuse, contagieuse..."
Benjamin Ilschner, La Liberté, Fribourg, Switzerland, February 18th 2013
”The interpretation of the Mozart’s Piano Concerto No. 27 in B flat major was balanced and even joyful. Conductor Petri Sakari emphasized the romantic end of an interpretative spectrum, while pianist Finghin Collins offered a clear and sophisticated elegance .... the noble purity of the finale was executed masterfully.”
Harri Hautala, Aamulehti, Finland, April 14th 2013
"Avant cela lepianiste irlandais avait dessiné avec une stupéfiante vivacité de touche les Estampes de Debussy. Motifs, couleurs, échos harmoniques se croisaient sous cs doigts infaillibles avec la clarté et le relief des plans qui font "voir" ce qu'on entend."
Christian Fruchart, L'Alsace, May 3rd 2013
Finghin Colins, en partenaire accompli, a souligné avec force ces intermittences de dureté implacable (ainsi le terrible Dernier espoir) et de douceur dans le legato du Tilleul" [Winterreise with Maarten Koningsberger]
Jacques Weil, Dernières Nouvelles d'Alsace, May 3rd 2013
"It's clear that Finghin Collins delights in Mozart and the four concertos here are the fruits of his time as Associate Artist with the RTE National SO, which he directs from the keyboard. The works range widely in mood, from the relatively carefree K415 to the proto-Beethovenian K466, and Collins is alive to their different personalities and at pains to give each phrase apt contour and detail. The long lines of the slow movement of K415 are finely wrought in what is perhaps the most compelling performance in the set."
Harriet Smith, Gramophone Magazine, September 2013 issue
"However many versions of these great works you already own, these new performances will give much pleasure". [Mozart CD recording with RTE NSO]
Misha Donat, BBC Music Magazine, October 2013 issue
"Often appearing dreamy and transported in the previous movements, Collins unveiled a touch of theatrical flair as he turned from his keyboard to the orchestra and back again during the giddy dialogue. This carefree attitude preceded his total immersion in the most virtuosic cadenza in the concerto. For his well-deserved encore, Collins educated and delighted us with John Field's Nocturne No. 5, informing us – with a touch of Irish pride – that Field (1782-1837) was the first composer to affix the nocturne title to a solo piano work."
Perry Tannenbaum, CVNC, November 7th 2013