The Belcea Quartet have just finished recording the complete Bartok quartets for EMI due for release in January 2008. They begin their 2008/2009 season with a recital at London's Wigmore Hall on 16 September.

Wigmore Hall
They are pre-eminent in this repertoire – so supple in their expressivity, so magically blended and balanced, so pristine in their intonation and confident in articulation and colouration that they make Britten’s most gymnastic declamations sound easy. This was sublime playing, elegantly and eloquently shaped, with grave melancholy in the Grimes-ean chaconne of the Second Quartet, icy beauty in Corina Belcea-Fisher’s performance of central movement of the Third Quartet, and impeccable restraint through the valedictory passacaglia, ‘La Serenissima.’
Anna Picard, The Independent on Sunday, 10 December 2006.

The Belceas, individual timbres blending magically, ensured that the music never strayed far from song, never lost momentum.
Nick Kimberley, the Evening Standard, 3 December 2006

Wigmore Hall
The Belcea, which is notably strong in interpreting music that has both a rhythmic edge and a complex palette of colour, underlined the original thinking that led Bartok to write a propulsive, ever-accelerating central movement, and a finale that reflected his interests in Hungarian folk music through its gritty accents and strenuous drive… The Belcea’s playing combined malleability with a sense of this creative concentration in which each note, gesture and phrase, however different in aspect, is woven into a taut web.

One of the vital facets of the Belcea’s performances was to demonstrate how Bartok could achieve such tight cohesion while giving such licence to the individual instrumental lines. His counterpoint, whether in fast music or slow, is of the most intricate kind, fuelling an harmonic vocabulary that is fluid, daring an pungent. At the same time, he broadened the spectrum of sound that an ensemble could achieve by means of myriad special effects. This concert gave a rewarding insight into a composer who wrote instinctively for the quartet and ceaselessly challenged its expressive boundaries.
Geoffrey Norris, The Daily Telegraph, 5 June 2006