John Terauds, The Toronto Star
Claude Gingras, La Presse, Montréal

Dyachkov makes sure there are moments to wonder at. His tone is beautiful, each note is exquisitely, easily placed, and he has a way of seeing a phrase, however long, as a whole and delivering it in one shapely, perfect gesture.

Elissa Poole, Globe and Mail, Vancouver

The solo work was Schumann’s Cello Concerto. Dyachkov is an artist of astonishing intimacy and depth, so fluid in his approach to the instrument that mere mechanical demands prove no hindrance to his boundless artistry.

Steven Baric, Chronicle-Journal, Thunder Bay

Dyachkov is undoubtedly a cellist of great stature: the natural bowing, the rich, deep sound, the total concentration, the interpretative sense, he has it all.

Claude Gingras, La Presse, Montréal

Montreal cellist Dyachkov was the soloist who gave us an intense, beautiful performance [of the Shostakovich cello concerto], with a solo cadenza that was a gripping, more than speech-like soliloquy. It rang from his strings and the orchestra's response was heartfelt and deft with an especially spirited reaction in the important horn and percussion parts. The players caught it all. A cello concerto is one of the most vocal forms there is, and Shostakovich's is eloquent with bitter sarcasm and longing, the bifurcations of a fractured soul.

Lloyd Dykk, Vancouver Sun

...the playing is terrific technically, tonally, and musically. The two artists' [Dyachkov and Saulnier] unanimous ensemble proves that they are regular partners who succeed in combining virtuosity with close rapport and in enjoying flourishing careers separately and together.

Edith Eisler, Strings Magazine

Yegor Dyachkov was spectacular. From the opening four- note theme [of the Shostakovich cello concerto] he displayed a driving, insistent force that single-handedly propelled the movement to its end. Dyachkov's intonation is impeccable. His tone is gorgeous and varied and his playing is effortless. The slow second movement showed Dyachkov at his very best. Supported by a spare orchestral accompaniment, he served up a lyrical, singing tone that was never forced. The movement features an achingly beautiful high melody and a closing section of haunting, eerie harmonics. Dyachkov played the following cadenza movement with unhurried sensitivity, allowing the music time to breathe. The effect was magical. The final movement returned to the insistent energy of the first movement. The cellist continued his virtuosic acrobatics, egged on by a driving orchestral accompaniment, and earned himself a deserved standing ovation.

Mark Bachmann, The Record, Kitchener

Cellist Yegor Dyachkov and pianist Jean Saulnier won Quebec's Opus Award for CD of the Year with their recording of sonatas by Shostakovich, Schnittke and Prokofiev in 2001, and their new Brahms release more than lives up to the promise of that earlier disc. Theirs is the kind of dynamic, balanced partnership that recharges chamber music. From the fantasy-like freedom of the opening of the E Minor Sonata to the poise of its minuet, or from the way the surging power of the "Allegro passionata" from the F major Sonata makes way for the naiveté of its last movement (as if there had been a complete changing of the guard), these two players sense one another's tiny games with time with mind-reading ease. It's a soliloquy for two.

Elissa Poole, The Globe and Mail, Toronto

Of these works [Brahms sonatas], that all cellists fight for, we have known several touchstone interpretations (…). Now, to this list we need to add the excellent Dyachkov/Saulnier duo. With rare intelligence, the two artists reveal both the atmosphere gentle melancholy of the Op. 38 as well as the power and mystery that permeate the Op.99.

Xavier Rey, Classica

From this severe opening [Britten’s Cello Symphony], underlined by tuba and basses, cellist Yegor Dyachkov had to extract himself and then spend a good deal of the movement dodging the knobby rhythms, all elbows and knees, of the accompaniment. No mercy here. He fought back with a warm, virile, intensely concentrated sound, even through a persistent attack by the timpani during his solo cadenza.

Stephen Pedersen, The Chronicle-Herlad / The Mail Star, Halifax

Yegor Dyachkov and Jean Saulnier […] are incredible. The pianist has really imbued himself in Brahms’ “northern” style, vigour, turmoil, his tumultuous and feverish atmospheres, but also his silky and voluptuous sonorities. The cellist is absolutely on the same wavelength: dense, ardent, lyrical but with temperance. And above all, the musical discourse, particularly structured and complex on all levels, lives and vibrates. Too often, the best interpreters get entangled in these pages. None of this here though: at every moment, the musical instinct is wide-awake.

Jacques Bonnaure, Répertoire

The velvet smoothness of Dyachkov's cello, due in equal parts to technical skill and expressiveness, is remarkable. 

Reine Lessard, Ultra High Fidelity Magazine

Voilà Brahms comme on aime: enveloppé, inspiré, émouvant. Avec l'excellent pianiste Jean Saulnier et sa sonorité pleine, riche et généreuse, et son sens du détail et de la texture, et la partie de violoncelle tenue par le non moins solide Yegor Dyachkov, subtil de retenue qui ne parle pas pour ne rien dire. Chez lui, le style n'est jamais affecté et reste campé dans la contrepartie plus intérieure de ces oeuvres au lyrisme et au romantisme à peine voilé. L'image sonore globale est chaleureuse, enveloppante même... Voilà une interprétation engagée et soutenue, dans le respect de la tradition romantique, et qui trouvera bien des adeptes pour qui aime Brahms comme tel.

Guy Marceau, La Presse

Dyachkov and Saulnier play with intensity and involvement. I have seldom heard such effortless technical playing and such smooth phrasing.

D. Moore, American Record Guide

Moscow-born Dyachkov is not yet 30 but he has a rich, mature tone that remains lyrical; it’s like listening to a great alto voice.

The Examiner, San Francisco

Driven by an extraordinary musical sensitivity, Yegor Dyachkov plays and breaths in perfect union with the Cello Concerto by Dvorak. Every musical phrase for him is as a poem, particularly in the second movement and in the coda of the Concerto, that are deeply touching. Of course, one could play the game of comparisons with other great interpreters in the abundant discography of the famous concerto. There is no such need, the personality of Yegor Dyachkov offers all the intensity and power, convincing anyone of the authenticity and beauty of his interpretation.

Michel Ferland, Guide Culturel, Radio-Canada, Montréal

Yegor Dyachkov is clearly a polished and sensitive cellist of great class. His instrument is magnificent in its presence, its warmth and its subtlety. The phrasing is noble, distinguished and devoid of ostentation, and the bowing bespeaks of a steadfast and sincere character.

A recording remarkable for its clarity and intelligence.

Olivier Philipponnat,

The expressivity of the two partners [Dyachkov and Jean Saulnier] is always sincere and totally convincing. The Schnittke Sonata, in particular, is an absolute triumph…

Jean-Marie Brohm, Répertoire

The devilishly virtuosic piece [Ibert’s Concerto] required nothing less than Yegor Dyachkov. The talented Russian musician then proved he was just as comfortable in the most ornamented and serene baroque pieces.

Daniel Robellaz, Tribune de Genève

But it was Dyachkov, the 25-year old Russian cellist, who soared the highest…

There were moments (…) when Dyachkov's furious intensity seemed to suck the air out of the hall. And that kind of rarefied feeling can be, while it lasts, thrilling.

Ian Gillespie, The London Free Press, London, On

… the deeply focused and committed playing of Mr. Dyachkov, who possesses a ravishing tone but does not rely on it, as some cellists do, to the point of overkill. He is not afraid to dig into strings, foregoing surface beauty when appropriate to express emotion. It is this kind of assured flexibility that makes the cello "speak", and which separates true musicians, like Mr. Dyachkov, from mere technicians.

Bill Parker, NetRadio Classical Spotlight

Presence, aplomb, abandon...
With the turn of each note, of each phrase, cellist Yegor Dyachkov is engaged in a constant search for truth.

Kathleen Lavoie, Le Soleil, Québec

A formidable cellist! Gripping, with endless imagination and great intelligence.

Rostislav Dubinsky, Borodin Quartet / Borodin Trio

The highlight of the concert was the Concerto for cello by Shostakovich. The young Yegor Dyachkov was xtraordinarily masterful and intense. The music was heated to the point of incandescence.

François Tousignant, Le Devoir, Montréal

In Debussy’s cello sonata, the 22 year-old Russian caressed the ear with a round velvety sound and feather light harmonics. …he played with passion and purpose.

Linda Maria Koldau, Frankfurter Allgemeine Zeitung

The breadth and the beauty of his sound, the quality of his legato and his judicious use of rubato produced a marvelous effect.

[He] also possesses that precious and indefinable quality referred to as “presence”.

Marc Samson, Le Soleil, Québec

I do not hesitate to assert that this is indeed a great cellist whose sensitivity and virtuosity are absolutely remarkable. this young man, I have found the makings of a great musician, someone for whom music is a ‘raison d'être’ and the focal point of a lifetime. What more could be asked of a performer?

André Prévost, composer | compositeur

Yegor Dyachkov played ... with the technique and tone of a genuine cellist and, above all, with the abandon and contemplation of a great musician. A name to watch.

Claude Gingras, La Presse, Montréal
Christophe Huss, Le Devoir, Montréal
David Olds, The Whole Note, Toronto
Gwenda Nemerofsky, Winnipeg Free Press
Elissa Poole, Opus Magazine, Toronto



Gwenda Nemerofsky, Winnipeg Free Press
Richard Todd, The Ottawa Citizen
Claude Gingras, La Presse, Montréal
Claude Gingras, La Presse, Montréal
Arthur Kaptanis, The Gazette, Montréal
Claude Gingras, La Presse, Montréal
Michel Ferland, Guide Culturel, Radio-Canada
Christophe Huss, Le Devoir, Montréal
Irène Brisson, Le Soleil, Québec
Philip Ehrensaft, The Score, Toronto
Geoff Chapman, The Toronto Star
Stéphane Friédérich, Répertoire
David Denton, The Strad, London
Isabelle Picard, Scena Musicale
Claude Gingras, La Presse, Montréal
Stanley Fefferman, Showtime Magazine, Toronto
Duncan Druce, Gramophone
Lawrence A. Johnson, Sun-Sentinel, Fort Lauderdale
Réjean Beaucage, La Scena Musicale
D. Moore, American Record Guide