On her album: Dall’Abaco and the art of variation:
[…] elegant, playful, infectious recital curated by Elinor Frey. […] Generous in every sense, this disc stands out for several reasons… […] I’ll gladly listen to whatever new gems they unearth.

The ensemble playing, as well as the solo passages, are exquisite, also benefiting from a very fine sound recording. It’s a real treat, not just replaying well-trodden repertoire, but inviting us to enrich our knowledge and appreciation of a wide swathe of 18th-century music that we had almost completely forgotten.

Elinor steps in for the first concert in Early Music Vancouver’s mini winter festival […]. Regarding her Her fingers lightly dancing like sprites, her expressions of love and laughter and her total commitment to Bach’s compositions made us want to dance with her.

On her album: Jean Baur, Chamber Music.
A sparkling new recording […]. Frey’s tone is at once bright, warm, and focused, and she delivers with the verve and personality of a soloist. Elsewhere, in an accompanying role, she blends with the ensemble – evidence of a solid chamber musician. They are at home in Baur’s galant style, where rhythmic sprightliness, simplicity of texture, and a seemingly effortless lyricism make the music an easy pleasure – at least for the listener.
[…] Frey’s virtuosity and panache is matched by the ensemble. […] With the chamber music of Jean Baur, a remarkable find, we have an invaluable collection for the listener and for the musician looking to expand their own repertoire.

On her album: The Cello according to Dall’Abaco. 5 Diapasons.
[…] its impetus warms your heart like a friend’s smile. Whether the vein is serious […] or more sunny […], everywhere the same clarity of ideas, the same mastery.

Frey’s flawless focus and confident musicality leads us through an 18th-century cave of wonders: a joyous, antique grotto where others fail to tread.

Frey’s careful scholarship and brilliant layering of moods and tempos on this, her second album, make for a great program…Frey’s assured technique and natural-sounding musicality. She is one of a growing number of younger performers who can make period instrumental solos sizzle with the same heat as artists using modern instruments and bows.

Anyone numb to these overplayed [Bach] suites should go to her next concert.

The program here is little short of magical, and Elinor Frey’s expressive playing and command of the baroque violoncello is remarkable to behold.

[…] the elegantly shaped bowed lines contrasting with the gently pointed bass notes and occasional flourished chord – simply exquisite. Full marks then for discovery and execution!