Still, they seem happy to risk it – and audiences aren’t complaining.” - Erica Jeal, The Guardian, May 2015 “Frost came into the Beethoven symphony with some strong interpretive ideas, judging from the well-executed shifts in dynamics and tempos.It felt like some chemistry was being established, so here’s hoping that Frost and the SPCO will renew their acquaintance soon.” - Pioneer Press, October 2014 “the Swedish clarinetist had such a sweet, smooth caramel tone and full sound across the ample range of his extended “A” clarinet that this became an exceptional interpretation, complemented splendidly by the SPCO’s expertise with Mozart.” - Pioneer Press, October 2014 “With such dramatic flair and exquisite dynamic control from Fröst, I doubt I’ll hear the clarinet part played this well for some time.If autumn yields other such riches at Wigmore Hall, it’ll be an abundant harvest indeed.” -, September 2014 “There are plenty of virtuosic fireworks in Poulenc’s Clarinet Sonata, which showed off Mr. But the most astonishing moments were some of the quiet ones, including a pianissimo line in the Romanza that was so subtle and so private as to evoke a sound half remembered.” August 2014 “In earlier times, the talent of Martin Frost would have attracted suspicion.

I’ve never heard it more beguilingly done.”“Masterful, self-assured, his variable playing and enunciating body language confirms this soloist as one of the best, most recognised respected soloists around the world [...] One observation is surely that some music fans were quietly thanking God that they had been allowed to experience this concert.”“In the opening movement alone he displayed the entire register of his great technique.

The musical ideas fizzed out of him and formed a brilliant dialogue with the orchestra [...] Thanks to his technical ability, Fröst led the work into new dimensions, showing a mix of playfulness and intellectual depth.” “Frost belies his 40-plus years with a near-adolescent vitality and sprightly stage presence.

In Anders Hillborg’s clarinet concerto Peacock Tales (without the trappings of mime and masks), his clarity across all registers and a superlative contrast in textures and dynamics revealed a master at work in an almost uninterrupted solo”“Anders Hillborg’s Clarinet Concerto Peacock Tales was a splendidly decadent offering from the virtuosic Martin Frost.

Lanky, with a mop of flaxen hair, he affects an air of amused detachment when he isn’t playing.

And yet there is something approaching the supernatural about his command of his instrument.” - The New York Times, August 2014 “Mr.

Fröst is a kinetic player with a vivid interpretive imagination and a sharply focused, warm tone…At times, particularly in the opening Allegro, he preferred to surf the orchestra’s sound rather than to stand out over it, but it was never a matter of not making the solo line heard; rather he was more engaged with the dialogue between the clarinet and the strings than with holding the spotlight.

That changed — the scoring leaves little choice — in the bittersweet Adagio, which he played with a ravishing serenity.”“Frost gave a tour-de-force performance of a work that has become his calling card: “Peacock Tales,” by the Swedish composer Anders Hillborg… Frost gave a riveting performance.” “Martin Fröst’s phenomenal breath control allows him to spin out melodic lines of gossamer lightness, and the strings of the Australian Chamber Orchestra accompany as if they were listening to him tell a long-held secret, before the buoyant cadenza brings in the first of the many dance rhythms that animate this programme.

“This all served to highlight the marvel that is Mozart’s clarinet concerto, which the outstanding Martin Fröst played with irresistible character on a modern version of the basset clarinet for which Mozart wrote.

Fröst’s legato in the adagio was particularly fine, while the wit and dexterity of his phrasing in the rondo made it feel as if Papageno was somehow on the platform.