“Mr. Drake delivered an outstanding performance at the piano. Through the near constant manipulation of the pedals, he created a vast palette of colors that ranged from the blustery introduction to “The Weather Vane” to glassy droplets in “Frozen Tears” and Mozartean grace in “Dream of Spring.” He was also the driving force behind the performance’s excellent pacing, contrasting rushing passages with moments of rest that often took on an uncomfortable staring quality.” Corinna da Fonseca-Wollheim

The New York Times

“Drake needs no introduction to Washington audiences, other than to say that he is one of today’s foremost collaborative pianists, and any singer would be lucky to have him for a partner.”

Patrick Rucker

The Washington Post

“Drake made the piano part sound positively incandescent. For my money, this inspired accompanist is now the best in the business.” Diary of One Who Vanished, Lincoln Centre

New York Magazine

“With Julius Drake contributing exquisite accompaniments, one felt that De Niese truly inhabited the world and emotions of the lovesick herding girl.” Barry Millington

Evening Standard

“Julius Drake is responsible for much with pianism that is subtle and perfectly matched to [Gerald] Finley’s conception, and the sound is warm and as dark as the music.” Steven Ritter

Audiophile Audition

“But especially in the first half, during the Schubert section of the programme, one caught one’s attention migrating again and again from the soloist to the accompanist.  Julius Drake had a fantastic evening; with virtuosic ease, he blended the background colours around the main exhibit of an evening of song: the singing voice.

He clad Gerald Finley’s strong vocal body in a sometimes airy, sometimes warm, encasement of sound.  The Briton was… both storm and breath, frost and glowing embers. This was an exceptional performance that defined art as the daughter of craftsmanship and genius.” Stefan Ender

Der Standard

“In a group by Hugo Wolf, imagination and execution began to gel, greatly inspired by the rapport with her unfailingly eloquent and supportive pianist Julius Drake. “Um Mittternacht” was beautifully restrained and “Verborgenheit” nobly shaped, while “Nimmersatte Liebe” nailed the poet’s wordly-wise shrug with wry gentle wit.” Rupert Christiansen

The Telegraph

“However, the finest musician on stage was neither of these. It was pianist Julius Drake. The way he created a lofty, epic mood in the song Talismans, then held back to allow Bostridge to soar over the top — with no loss of grandeur — was the most eloquent moment of the evening.” Ivan Hewett

The Telegraph

“Here they were most eloquently interpreted by Coote and her unfailingly sensitive yet never unduly recessive piano partner Julius Drake. Whether thrillingly extravert in “Wanderlied”, ecstatically impassioned in “Stille Tränen’  or warmly melancholy in  “Alte Laute”, they held the audience rapt: the silence in the hall as the last note faded was something magical and even holy” Rupert Christiansen

The Telegraph

“This is the second installment of Hyperion’s retrospective of Liszt’s complete songs, the brainchild of pianist Julius Drake, and one of the most important recording projects of recent years. […] With mezzo Angelika Kirchschlager, Drake now steers us into territory that is altogether more reflective, while some of Liszt’s most familiar songs, such as Es Muss ein Wunderbares Sein, are included in the programme. […] Drake is outstanding throughout.” Tim Ashley

The Guardian

“In Julius Drake they were joined by a character actor at the piano, who slipped into the many roles assigned to him with great dexterity and dramatic instinct.” Corinna da Fonseca-Wollheim

The New York Times

“Constantly sympathetic, Julius Drake sustained drama, cumulative logic and easy virtuosity at the keyboard. He also made delirious sense of the impossible patter-clatter of “Klinge, klinge, mein Pandero” Martin Bernheimer

The Financial Times

“Julius Drake proved an adept and equal collaborator, evoking stormy weather, glinting fishes and chirruping crickets with the same dramatic immediacy that Finley brought to bear.” Barry Millington

The Evening Standard