'Admirable ... as fine as any other accompanist'
BBC Music Magazine

'There's no faulting Glynn's sensitive, detailed piano playing'

'revelatory performances .. A perfect fusion of voice and piano.'
BBC Music Magazine, Choral & Song Choice of the Month *****

'Christopher Glynn's fluid accompaniment is a model of supportive sensitivity'
BBC Music Magazine

'Booth and Glynn's vividly characterised performances .. each delivered with irrepressible energy, wit and finesse.'
The Guardian, Classical CDs of the year

'Glynn was a characterful accompanist, painting mood and scene with an expert touch .. a compelling evening'
The Times

'wholly unforgettable . Christopher Glynn's eloquent playing'
The Guardian

'The real star of the show is the pianist Christopher Glynn, for whom the project has evidently been a labour of love. The detail and colour of his playing (to say nothing of the way he meets the many technical challenges Swann presents with a knowing wink) in the more than two hours of accompaniments is a fine achievement. If that were not enough he also contributes a first class booklet'

'I was transfixed and touched. Christopher's choir and orchestra (buttressed anachronistically but virtuosically, by Christopher Glynn's brilliant piano playing)'
The Times

'At Carnegie Hall pianist Christopher Glynn was an exemplary partner, by turns impossibly delicate, colourfully nimble and thunderously firm.'
Opera News

'The intense accompaniment tackled with breath-taking sensitivity by pianist Christopher Glynn...infinitely subtle dynamic range and some impeccably moulded phrasing. One suspects this repertoire could have found no finer exponents.'

'vividly communicated by the baritone and his excellent pianist, Christopher Glynn'
The Sunday Times

'Claire Booth and Christopher Glynn .. it's that sparkle that they give, it's the care, it's the attention to detail, it's the love of the music and the incredible characters that they manage to draw out of every song that makes this disc really quite a stand out'
BBC Radio 3 Record Review, Best of 2017

'beautifully played by Christopher Glynn'
The Independent

'pure artistry and friendship on stage'
The Sunday Times

''Pianist Christopher Glynn had beauties and insights aplenty'
The Times

'Sensitive accompanist Christopher Glynn...a stunning rendition'
New York Times

'Christopher Glynn's piano accompaniments were of the highest calibre'
Le Monde

'Pianist Christopher Glynn provided exemplary accompaniment'
Montreal Gazette

'Kate Royal was exquisitely accompanied by Christopher Glynn who created beautiful intimate atmospheres and seemed to play with fingers of velvet.'
Opera Magazine

'Fantastically talented pianist Christopher Glynn's playing was outstanding for its clarity and sensitivity.'
The Scotsman

This album is one delight after another. The performances are excellent. Booth's light lyric voice caresses the songs lovingly while Glynn's flexible phrasing adds tender nuance to his playing.'
American Record Guide

'Christopher Glynn's accompaniments were a model of creative collaboration'
Yorkshire Post

'Not to be overshadowed was Christopher Glynn whose accompaniment almost anticipated the mood of every performance that night, at times fiery, at times breathtakingly haunting but consistently melting into the vocals and providing the two singers with the perfect instrumental companion.'
The Sunday Times

'Supporting Royal with the utmost musical sensitivity, Glynn proved a first-rate accompanist, indeed every bit as impressive and inspirational as the wonderful Malcolm Martineau is on the CD recording. Many of these songs required virtuosic pianism, which Glynn tackled effortlessly. At other times, his delicacy of touch was irresistible.'
Opera Britannica

'Special praise is due to Christopher Glynn for his consistently perceptive and lightly shaded, yet telling, accompaniments which add so much to the appeal of this album.'
MusicWeb International

'All the singers displayed great skill in inflecting the texts with humour or point, whilst also showing their abilities to alter colours, dynamics and phrasing as mood demanded. Adding to the sense of cohesion was the superb playing of Christopher Glynn'
Classical Source

'The standing ovation which acclaimed the end of this amazing recital was genuinely well-deserved. Roderick Williams and pianist ("accompanist" is too diminishing a word to use in such a context) Christopher Glynn had just delivered a mesmerising, totally involving account of Schubert's Winterreise.. Glynn's pianism was equally as gripping. He coloured the Fazioli piano (unlidded, so as not to obscure Williams' visibility) sympathetically, his timings between these 24 songs allowed all the drama and implications to tell, and the result of his partnership with Roderick Williams was very far removed from the stand-and-deliver, take-it-or-leave-it performances of even such greats as Dietrich Fischer-Dieskau and Gerald Moore, and Peter Pears and Benjamin Britten.'
Christopher Morley

'a special word for Glynn, whose piano provided vivid and intelligent commentary unceasingly over a 75-minute span .. Time and again we were able to anticipate amatory emotions from the keyboard cues Glynn provided. He simplified the singers' task immensely.'
The Press

'Christopher Glynn is a superb accompanist: his precision, his flexibility, his involvement are essential ingredients in the totality.'
MusicWeb International

'Glynn's contributions are eloquently gauged'
The Sunday Times

'Soprano Claire Booth and pianist Christopher Glynn provide a beautifully planned celebration .. beautifully managing the contrasts between simplicity and immense sophistication .. it makes a really engaging sequence.'
The Guardian

'the piano parts are constantly full of interest; I should imagine that they pose quite a few challenges as well, though you'd never guess that from Glynn's fluent, vital playing .. he is as persuasive an advocate for the music when sitting at the keyboard as he was when writing the liner notes .. This is a captivating collection which I've enjoyed immensely.
MusicWeb International

'Glynn points up every detail of some colourful piano writing'
The Times

'This joyous collection from soprano Claire Booth and pianist Christopher Glynn explores Grainger's stunning folk song output with great verve and passion, revealing English folk music as an incredibly alluring, multifaceted genre .. a perfect album for seasoned Grainger enthusiasts and curious newcomers alike.'
Readers Digest

'Chris Glynn was a master of his instrument and was the perfect display of what an international artiste and accompanist could do with a single instrument. At times giving the mighty support of an orchestra, and at others becoming the perfect whisper of delicate sensitivity; strong and gentle in equal measure, he was the consummate performer and collaborator.'
The Island

'Sir John Tomlinson's magnificent bass .. ingeniously coupled by Christopher Glynn's deft pianism throughout much taxing accompaniment.'
The Press

'Chris Glynn .. exquisite refinement'
The Daily Telegraph

'a vivacious and polished performance .. Glynn's intelligent accompaniment proved to be a perfect match for the singer's skilful characterisation and dramatic flair.'
The Press

'Roderick Williams and his superb pianist Christopher Glynn trace Schubert and Muller's downbeat sequence with unerring sensitivity.'

'The recital was miraculous, Roderick Williams so beguiling with such a smooth, mellow voice with creamy tenor timbres, Glynn accompanying with such reassuring authority and empathy. We all marvelled at the success of this amazing afternoon.'
Birmingham Post

'Roderick Williams was sympathetically accompanied by pianist Christopher Glynn. The control he displayed in Samuel Barber's Three Songs was masterly, as was Glynn's dynamic accompaniment the piano as poised as Williams's precise articulation.'
The Herald

'Pianist Christopher Glynn's sensitive voicing and nimble articulation were as impressive as Kate Royal's expressivity.'
The Independent

'Regrettably Graham Johnson was indisposed but Christopher Glynn was in no way a second-best replacement. His innate empathy with this repertoire was immediately apparent, and his alert responsiveness to the nuances of the texts was sustained throughout the performance.'
Opera Today

'pianist Christopher Glynn...some of the most rapturously beautiful sounds I've heard in this year's Proms season'
Daily Telegraph

'Anchoring the entire programme is outstanding pianist Christopher Glynn, who provides elegant support for the vocalists and fills the piano lines with expressive musicality...magical.'
Metropolitan Opera News

'Superb playing from Christopher Glynn'
The Telegraph

'Beg, borrow or buy this disc immediately. Superlative and compelling performances. With piano accompaniment from Christopher Glynn, simply glorious!'

'The results can be summed up in three words: brilliant, brilliant and brilliant...accompanied by the excellent Christopher Glynn.'
The Guardian

'The performances are fine indeed, but more than anything, it is the music itself that strikes is both utterly unique and breathtakingly beautiful when singers and pianist Christopher Glynn suddenly slow as one... magical'
Classic FM Magazine

'Joan Rodgers and Christopher Glynn...perfectly balanced partnership'
The Guardian

'Outstanding pianist Christopher Glynn - always imaginative'
Evening Standard

'there could be no gainsaying Glynn's surety of navigation when it came to the score's twists and turns'
Seen and Heard

'A piano reduction (Christopher Glynn, excellent) that proved just as effective as Poulenc's orchestra.'
Financial Times

'Christopher Glynn's admirable piano accompaniment does excellent service to Poulenc's highly coloured score.'
Evening Standard

'fine pianist Christopher Glynn showed what real performance is all about, not just accuracy and technical command, but imaginative daring.'
Musical Opinion

'Exquisitely enhanced by Glynn's improvised decorations... Glynn gave thrilling support...encapsulating the essence of English song.'
The Press

'Christopher Glynn plays with loving involvement and subtle expressive freedoms in these overall very communicative performances.'
Musical Opinion

'The 1872 Bosendorfer has a quality of attack and tone-colour than makes for almost diaphanous transparency as played by Gary Cooper and Christopher Glynn. A triumph, creating the benchmark for this version.'
BBC Music Magazine

'Sensitive accompaniment from Christopher Glynn .. the harmonically daring piano part, in this performance, often breathtakingly beautiful ... the performances are consistently of the highest quality.'

'Elegant, refined music-making'
Audiophile audition, USA

'Christopher Glynn has long been one of my favourite accompanists and it was a delight to hear him on this occasion.'
Musical Pointers

'Christopher Glynn on the piano accompanied with masterly command of nuance and expressiveness'
Koelner Stadt-Anzeiger

'The two Christophers, Maltman and Glynn, were in cheerful accord. Relaxed and characterful, they clearly savoured their mood of shared buoyancy and intriguing accompaniment, superbly negotiated by Glynn. They enjoyed a similar rapport in Don Quichotte a Dulcinee, all three of which showcased Maltman's deft interpretative skills and Glynn's warm, affectionate pianism.'
Classical Source

'a performance full of panache'
The Strad

'Catherine Wyn Rogers was partnered by the excellent accompanist Christopher Glynn who was powerful and subtle in equal measure. It seemed that both artists breathed at the same time.'
Weser Kurier

'Hugo Wolf's songs are a lovely melange of music and poetry in which both singer and pianist, in this case the excellent Christopher Glynn, share the glory... both Rodgers and Glynn put across the power of the music and words convincingly.'
Bath Chronicle

'Christopher Glynn very ably demonstrated the richness of texture Brahms could work up in support of his singer'
The Scotsman

'Her choice of Christopher Glynn could not have been better...a brilliant and prolific accompanist...great artistry'
Sunday Times

'Meticulous performances, each phrase is perfectly balanced, its meaning directly communicated, its accompaniment supremely tactful'
The Guardian

'The doyen of British baritones, Sir Thomas Allen, accompanied by the festival's Artistic Director, Christopher Glynn who was with him every step of the way, nowhere more so than in Ravel's Histoires Naturelles.'
The Press

'Christopher Glynn brings out the different colours in accordance with each song, from crashing chords to gurgling grupetti, sparkling little scales to vigorous outpourings or soft sweetness'
International Record Review

'You might not imagine that a whole day of German Lieder would fire the imaginations of Ryedale's gentle folk. You would be wrong .. Christopher Glynn's deft pianism provided glowing support throughout the day'
The Press

'Head created the most inventive and sympathetic writing for voice and piano ... their expressive power is enhanced by the presence of the pianist Christopher Glynn and three particularly word-sensitive singers ... A revelation'

'Head, a long-neglected member of the first world war generation of composers, is coming back to favour, and this collection of 27 songs, deftly accompanied by Christopher Glynn, will do his reputation nothing but good'
Financial Times

'Christiane Karg conjured an immediate, rueful remembrance in September, while making an unearthly dream of Twilight, turning to focus on Christopher Glynn's lark-tinged postlude. He had been tightly attuned to her throughout. Lieder recitals should always be like this.'
The Press

'Velvet-toned pianist Christopher Glynn'
Classical Music

'Christopher Glynn expertly accompanied'
The Guardian


Management: Helen Hogh
Groves Artists

Helen Hogh

Contact Chris