‘Alina Ibragimova brings us an excellent, eloquent interpretation of Telemann’s Fantasias for solo violin. The sound of Henry Wood Hall is gorgeously captured by Hyperion … the Allegro that closes the Fantasia in G is full of punch and flair. The outer movements of the Fantasia in D are similarly athletic. Ibragimova’s playing is efficient yet resonant, and the balance between cultivated, high-art gigue and rustic energy achieved in the Allegro is a thing of genius. The Spirituoso from the Fantasia in E is exactly what it says on the tin. The playing is nimble, and Ibragimova’s subtle syncopations and sparkling filigree are a delight … overall a superb recording’ (Gramophone)

‘Where Ibragimova is often at her most appealing is when addressing dance metres. Here her lightly articulated bowing and her softly spoken melodic declamation make for considerable appeal. These virtues are especially prominent in the second half dozen of the Fantasias, where the dance assumes prominence over the contrapuntal dominance of the first. Elsewhere Ibragimova demonstrates a playful agility in enlivening the kaleidoscope of Telemann’s canvas’ (BBC Music Magazine)» More

‘Alina Ibragimova [uses] her silky skills as a player to show us what magical pieces they are, dancing playfully and singing soulfully in these artful miniatures. It’s a lovely recording as well, a subtle framing of the solo violin that somehow emphasizes the player’s isolation and the intimacy of the music’ (BBC Record Review)

‘Incapable of giving a dull performance in any repertoire, Ibragimova gives every phrase its own colour and character and brings out all the invention and fun in music that effortlessly enlivens old-word procedures with 18th-century elegance and wit. Ibragimova rocks, and Telemann does too’ (The Times)

‘Alina Ibragimova’s new recording of the set’s 41 movements runs to 65 minutes, and she is always judicious in choosing not to probe the music for Bachian profundities that it doesn’t have to offer. Her 'less is more' approach is highly appealing, bringing an attractive dancing lilt to many of the faster movements in a set where actual dance designations are rare indeed. Her eschewal of vibrato even in the slow movements, and her light-fingered dexterity in the fast ones, make the most of the music’s contrasts. So forget Bach: think instead of a sequence of delectable morsels, exquisitely presented’ (The Irish Times)» More

‘Alina Ibragimova has recorded extensively and in a wide variety of repertoire for the Hyperion label, and I particularly enjoyed her Mozart sonatas with Cédric Tiberghien. Recorded with fairly close detail but with a subtle halo of fine acoustic in the Henry Wood Hall, this solo recording is another very fine addition to her discography … Ibragimova's playing embraces Telemann's often playful inventiveness, giving us sprightly energy in the dance movements, real sustained drama where this is demanded, wide dynamic range and expressive lyricism in performances from which that all-important sense of contrast is key. The aesthetic here is ‘period style’ in the sense of generally avoiding vibrato, but the violin sound is both crisp and full, the clarity and skill in playing Telemann's at times very tricky counterpoint (so much for being not too complex technically) at times truly breathtaking … I would personally put Alina Ibragimova at or very near the top of the heap when it comes to the Historically Informed interpretations. Her natural sense of communication gives these pieces an almost effortless feel and this is the kind of recording you can easily enjoy in one sitting, which is not something you can say about too many solo violin discs’ (MusicWeb International)

‘The first thing that struck me, in the very first track, was an unexpected sense of lonely vulnerability. The fact that Telemann starts many of these fantasias off with a slow movement is hardly unique in and of itself, since Bach’s solo violin works often do the same as do innumerable other sonate da chiesa, but somehow it lends the Fantasia No 1 in B flat, and indeed the album as a whole, a profundity that I simply wasn’t anticipating. Throughout the set of twelve fantasias, Ibragimova reproduces that sense of delicacy numerous times, particularly in slow movements such as the opening Piacevolmente of No 8 in E major … in such capable hands as Ibragimova’s the shaky boundary between music ‘for professionals’ and ‘for amateurs’ breaks down altogether. Telemann’s craft in keeping the music playable is obvious, but Ibragimova shows us the art that he put into these twelve fantasias—each one an assembly of perfectly-formed one- or two-minute miniatures, forming an album of bite-size delights’ (Presto Classical)» More

'La lectura de Alina Ibragimova, con instrument barroco, se coloca, sin lugar a duda, entre las mejores' (Scherzo, Spain)