All just my personal opinion
Vibrato, or Not To Vibrate? Personal reflections about the use (or rather: the non-use) of vibrato, primarily from a listener’s perspective, in the context of “historically informed” performances. The listener’s (and performer’s) potential difficulties and advantages with either option. Also: touching on related issues, such as portamento, glissando
Concert review, Signum Quartett @ St.Peter Church, Zurich, 2017-10-08 — Haydn: String Quartet in D major, op.20/4; Beethoven: String Quartet No.15 in A minor, op.132
Concert Review, Jerusalem Quartet @ LAC, Lugano, 2017-04-23 — Beethoven: String Quartet No.11 in F minor, op.95, “Serioso”; Prokofiev: String Quartet No.1 in B minor, op.50; Beethoven: String Quartet No.7 in F major, op.59/1, “Razumovsky”
Franz Schubert, String Quartet No.15 in G major, D.887 (op.116): a comparison of 3 recordings, with the Melos Quartett Stuttgart (1978), the Emerson String Quartet (1998), and the Artemis Quartet (2009)
Beethoven: String Quartets — summary for comparisons of recordings, involving the following ensembles: Alban Berg Quartet, Amadeus Quartet, Artemis Quartet, Brooklyn Rider, Busch Quartett, Chiaroscuso Quartet, Emerson String Quartet, Endellion String Quartet, Guarneri String Quartet, Hagen Quartett, Kuijken Quartet, LaSalle Quartet, Leipziger Streichquartett, Melos Quartett Stuttgart, Quartetto Italiano, Quatuor Mosaïques, Takács Quartet
Beethoven: String Quartet op.135 —comparing recordings with the following ensembles: Alban Berg Quartett (1982), Amadeus Quartet (1963), Artemis Quartet (2011), Busch Quartet (1935), Emerson String Quartet (1997), Endellion String Quartet (2005), Guarneri String Quartet (1969), Hagen Quartett (1990), Hagen Quartett (2012), LaSalle Quartet (1976), Leipziger Streichquartett (1998), Melos Quartett (1984), Quartetto Italiano (1968), Takács Quartet (2004)