Revista Concerto - review excerpt , Sala São Paulo, Brazil, July 10, 2023

Listening to Lalo, one gets the impression that the philharmonic's sound identity values precision above all else, with a sharp sound that does not mean less expressiveness but, on the contrary, an intensity that comes from detail, from the dialogue of timbres, and clarity in the construction of each passage. And in that sense, cellist Viktor Uzur, who played Saint-Säens' Concerto No. 1, seemed like the ideal soloist for the group. The sound Uzur extracts from the cello is never spilled – and gives Saint-Säens' declamatory style a particular character, without exaggeration. This was especially clear in the second movement, in the minuet in which Uzur talks to the strings, when the philharmonic showed its versatility, assuming the role of accompaniment as if it were a huge chamber ensemble. A moment like this, so fleeting, had so much poetry that it would have been worth the presentation.

Brahms' Trio nº 2 op.87, which opened the evening, was completed in 1882, therefore already in the last quarter of the 19th century. A dense and dark work, it received impeccable interpretation by Winston Ramalho (violin), Viktor Uzur (cello) and the aforementioned Arnaldo Cohen.