Beethoven: Concerto No.1
The flexibility and control were that of a pianist in full confidence and capable of showing new subtleties in familiar music. The concerto altogether was beautifully done and Miss Brownridge produced playing of great vigour and exuberance with powerful octaves and feats of pianistic bravura.
Beethoven: Concerto No.3
Angela Brownridge, a pianist of superb talent, gave an outstanding, yet polished performance. She has a faultless and comprehensive understanding to go with it.
Brahms: Concerto No.1
A performance which was at once sensitively musical and inately intelligent, the rapport established with the orchestra in the slow movement being especially striking in its beauty. The range and colour produced by the soloist was remarkable.
Saint-Saëns: Complete works for piano and orchestra (2 CDs). Hallé Orchestra
The warmth and wit of Brownridge’s playing is a great deal more appropriate to the repertoire than Collard’s poker-faced heroics. In fact she plays these concertante worksd beautifully, proving they are worthy of affectionate performances that need not strive for theatrical effect. Her urbanity puts the gothic and picturesque elements in context – not knowing how far the composer’s tongue is in his cheek is all part of the fun. She benefits from recorded sound that reproduces very well her ripe tone, and puts piano and orchestra in perfect proportion. This set offers many pleasures.
Brian Hunt, The Gramophone
The solo playing is consistently fresh, has plenty of dash and there is no lack of brilliance of attack. Brownridge brings a flexibly romantic feeling to slow movements which is most appealing. The Andante of no. 3 is delightful, and her improvisatory approach to the famous, almost Bachian no. 2 is equally impressive in its power, followed by a sparkling Scherzo.
Ivan March., Hi-Fi News
Chiefly I was impressed by her understanding of the syntax and structure of these wonderful works, which I have not experienced with other pianists. Time and again I felt that mixture of surprise and inevitability that betokens a performance based on real understanding.
Gershwin: Rhapsody in Blue
It was glorious Gershwin in which the sheer vivacity and sparkle was the high point of the evening in which Angela Brownridge excited and delighted the audience.
Grieg: Piano Concerto
A sparkling account – her remarkable technique making light of the difficult octaves and big cadenza.
John Ireland: Piano Concerto
This was a marvellous, sonic adventure very attractively put over by Angela Brownridge with warmth and wit.
Mozart: Piano Concerto in D minor, K.466
This was a serious and poignant performance of one of Mozart’s deepest concertos, beautifully and expressively done.
Mozart: Piano Concerto in C, K.467 (with own cadenza)
A performance it would be hard to better, with good rapport between soloist and orchestra. Clarity and precision were the hallmarks of Miss Brownridge’s playing. Although standin in at 24 hours’ notice, she provided her own cadenza which she admitted to improvising. Conductor Barry Wordsworth described it as remarkable and completely in character.
Shostakovitch: Concerto No. 2
Angela Brownridge proved to be a fine eleventh-hour substitute. Her accurate reading of the readily-approachable Shostakovitch 2nd Piano Concerto was very well received…the slow movement an endless piano melody over heavily muted strings and cavernous double basses, simply and magically done.
Roberto Gerhard: Concerto for Piano and Strings
It was good to hear this given the excellent performance it received on Radio 3 by Angela Brownridge and the BBC Scottish Symphony Otrchestra.
Kenneth Leighton: Piano Concerto No.1, Cameo Classics CC9046CD
Angela Brownridge has already proved an assiduous champion of her teacher, Kenneth Leighton, with a magnificent 3-disc survey of his complete piano output. She brings to the first of Leighton’s three piano concertos (composed in 1951), both heart-warming conviction and swaggering verve – an accomplished, communicative discovery. Brownridge was a soloist in Brahms’s second piano concerto with Ruth Gipps as conductor with the London Symphony Orchestra and is again on sterling form in Gipps’s piano concerto of 1948.
Andrew Aschenbach, The Gramophone