"What a taste for contrasts! An album of zestful vitality, exuberance even." [translation from French; CD Beethoven, Piano Concertos Nos. 2 & 4; Royal Northern Sinfonia; Ondine]

— Diapason, Bertrand Boissar, June 2018

"An enjoyable cycle reaches its conclusion in considerable style – the rapport between Lars Vogt and his Northern Sinfonia feels natural and joyous after a rewarding journey." [Gramophone New Best Classical Album May 2018; Beethoven, Piano Concertos Nos. 2 & 4; Royal Northern Sinfonia; Ondine]

— Gramophone, Richard Osborne, May 2018

"The delicacy and expressive rubato of the strings’ reply to the soloist at the start of No 4 shows that theirs is a true partnership. Vogt’s direction is as masterly as his playing. I can’t recall a finer account of this celestial work. No 2’s opening movement is a real allegro con brio, and Vogt cleverly integrates Beethoven’s much later cadenza into the style of the rest. A richly satisfying disc." [Beethoven Piano Concertos Nos. 2 & 4, Royal Northern Sinfonia, ONDINE]

— The Times, David Cairns, 18.03.2018

"Vogt mapped out the nocturnal slow movement with the predatory tread of something beautiful and dangerous." [Beethoven Piano Concertos Nos. 2 & 3; Royal Northern Sinfonia]

— The Guardian, Alfred Hickling, 19.03.17

„Vogt not only played his piano part impeccably, but also impressively brought out Grieg’s brilliant orchestration from his players. He is a rare talent – and we are fortunate that he’s our talent at this time.“

—, Rob Barnes, 20.09.15

„Vogt has played Grieg’s Piano Concerto countless times in his career (he made his Proms debut with the piece in 1992), but never while attempting to conduct it at the same time. Yet he barely seemed to be distracted by the division of labour: Vogt is such a communicative, hyperactive performer that when his hands were occupied at the keyboard he appeared to continue conducting with his knees.“

— The Guardian, Alfred Hickling, 20.09.15

„In Vogt’s performance, passages of powerful abandon never lost their rocking rhythmic snap, and lyrical passages maintained a firm intellectual command of Brahms’s compositional filigree.“

— The New Yorker, Richard Brody, 08.08.14