Fine Music Magazine/CD Review/Schoeck Cello Concerto (01.07.18)

Christoph Croisé plays Schoeck's cello concerto with great empathy for its lyricism but also with muscularity in the more forceful passages. The music is thoroughly enjoyable and an eye-opener for those of us who were unfamiliar with the music of Othmar Schoeck.

The Strad Magazine/CD Review Schoeck Cello Concerto (17.05.18)

Croisé captures the autumnal aura that surrounds the concerto’s four movements with seamless subtleties of tone colour and yet gives plenty of edge to its more energetic writing.

MusicWeb International/CD Review Schoeck Cello Concerto (22.03.18)

Christoph Croisé plays with considerable ardency and style, very much at one with the diverse character of the writing. The highlight is the thickly textured Finale which varies considerably in tempi and weight. It never seems to settle on one particular emotion for too long; there is extremely passionate writing contrasted with a sense of mystery.

BBC Music Magazine/CD Review Schoeck Cello Concerto (22.03.18)

A magical performance of these 1940s orchestral works that hark back to the Romantic era. Croisé's playing is delicate yet virtuosic.

Daily Mail UK (Wigmore Hall Debut) (22.10.17)

Croisé’s wiry, buzzy tone with its fast vibrato readily conveys the intensity this fascinating, kaleidoscopic work demands.

Review, Recital Tonhalle Zurich (13.11.15)

This was an excellent conclusion for the concert, calling for lots of applause — the artists responded by repeating the last part of Ginastera’s Pampeana No.2. As this didn’t seem enough for the enthusiastic audience, Christoph Croisé and Oxana Shevchenko ended the concert with a second encore, the “Sachidao” by the Georgian composer Sulkhan Tsintsadze

Review CD "Visions" (31.08.15)

To summarize: I can only congratulate Christoph Croisé for this excellent debut CD, and Oxana Shevchenko for her superb accompaniment!

Review Lucerne Festival (27.08.15)

In the second movement, the motto “Humor” of this year’s Lucerne Festival came to full bearing, with melodies that remind of children’s songs, jokingly commented on by pizzicati and broken chords in the cello part — “Peter and the Wolf” came to mind — very entertaining, and surely fun to play! The middle section of the movement switches to a yearning, serene love song, expressive, but without excessive romanticism — until pizzicati indicate a return to the initial, humorous tone, now even enriched with giggling flageolet passages. The audience could not resist the temptation to applaud the first two movements: interruptions that turned out not to be disruptive — quite to the contrary, as they established a “family atmosphere” and ties between the artists and the audience, plus, the piece is robust enough!

Mark Thomas, Raff Society London (19.10.12)

The best compliment which one can pay Christoph Croisé is that one rapidly forgot his youth; he delivered a thoroughly engaging and convincing interpretation of this delightful score and entirely deserved the extended applause which greeted its end, to which he responded with two solo encores. He has a great future ahead of him.

Arts & Culture IBLA Foundation Celebrates its Twentieth Anniversary in New York (07.04.11)

..Then, a cellist from Switzerland, Christoph Croise... . With only one day to practice with his accompanist, Alexander Panfilov, Croise not only reached every note with precision, he added a sprightly personality to “Hungarian Rhapsodie op. 68” and “Dance of the Elves op. 39” by David Popper. - Francesca Crozier-Fitzgerald, Antonella Iovino