“The expression of the navarre violist in this recording is tender, emotive, melancholic, strong, energic, serene. Among all, extremely lyric. Without doubt, anyone who will listen to this album Bohèmes, will have a spotlight in their collection.”

‘What a beautiful and deep sound has the viola of Isabel Villanueva. At the Sonata Arpeggione in Schubert, the Andante, central movement, was played in the concert of the CNDM’s season at Auditorio in Madrid. Isabel solved with a Cantabile in which there was even a belcantist philatelic, if Imay allow this more as an image to suggest that as an impossible reality. Of course, the violas do not sing, but the singing of the viola of Villanueva presented, already in the three Movements of this short Schubertian work, some characteristics of her way of playing: singing, the art of the tenuous, the ability to spin the sound … and the power so intense of the bass that come out of that instrument with which Isabel seems to brush the magic of the musical infernos.’ ‘With the Sonata for viola op.120 No. 1 Villanueva arrived at the culmination of the recital, with an extension of the effects or effectives that had already announced in the andante of the Arpeggione. There was the coexistence of the serious coming from that magical Hades of this young interpreter, and still wise and artist, with the most delicate sonic slimming, that delicacy that is not fragility (although, what does it matter that an artist shows fragility, is one of its resources), but power of an equivalent to the suspense, here, in music: the line gets so thin that we feel (we do not think) that something can be broken. Something. Isabel Villanueva has that art.’
SCHERZO MAGAZINE (November 2016)

‘Isabel Villanueva is