The Week in Reviews, Op. 199: Anne-Sophie Mutter, Hilary Hahn, Daniel Hope
In an effort to promote the coverage of live violin performance, Violinist.com each week presents links to reviews of notable concerts and recitals around the world.
Anne-Sophie Mutter performed the Tchaikovsky Violin Concerto with the Chicago Symphony.
- Chicago Sun-Times: "...she delivered a comfortably elegant interpretation with every detail immaculately in its place and a warm, silken tone that was ceaselessly ingratiating."
- Chicago Tribune: "Her glamorous presence, typically swathed in a stunning, skin-tight, red-and-black gown, presaged the strong roster of guest artists and conductors promised in the 127th season."
- Chicago Classical Review: "Mutter’s sound was remarkably chameleonic, shifting colors with each new melodic gesture, change in tempo, or adjustment in orchestral texture. Her refusal to submit to a predictable interpretive routine was as bracing as it was unsettling, providing interest to each bar of music, but sometimes making connections in the sprawling score difficult for the listener to trace."
Anne-Sophie Mutter. Photo by Monika Höfler.
Anne-Sophie Mutter performed Mozart’s Violin Concerto No. 5 with the Chicago Symphony.
- Chicago Tribune: "Those listeners who favor a more straightforward, more classical view of this sunny music, as I do, went home disappointed. To my ears, Mutter’s penchant for extreme contrasts of dynamics, tone and speed sounded anachronistic and crossed the line from expressive refinement to mannerism."
Hilary Hahn performed the Dvorák with the Dallas Symphony Orchestra.
- The Dallas Morning News: "Hilary Hahn...supplied her own big, bold sound; technical wizardry, including laser-pinpointed pitches on high; and suave expression."
Daniel Hope premiered the Alan Fletcher Violin Concerto with the New Century Chamber Orchestra.
- San Francisco Chronicle: "Fletcher’s ingratiating three-movement concerto, written for Hope, is built largely on water imagery — lapping waves, little repetitive swirls of melody, and an overall sense of restless fluidity."
Christian Tetzlaff performed the Brahms with the Pittsburgh Symphony Orchestra.
Daishin Kashimoto performed the Mendelssohn with the Singapore Symphony Orchestra.
- The Straits Times: "The natural fluidity of his technique meant that all the solo's twists and turns were more than comfortably negotiated....There was some getting used to to his slightly acidic tone, but this did little to detract from the overall picture, which also drew vociferous applause."
Finally, it's not a violin performance, but a play somewhat inspired by Philippe Quint leaving his violin in an airport taxi has premiered Off Broadway.
- The New York Times: "'The Violin' aims to be a meditation on lives good, bad and unlived, though its philosophy never convinces. The crime-caper setup has some of the savor of early David Mamet and much of the macho posturing. But Mr. McCormick’s plotting, with its florid back stories and unsurprising revelations, is ploddingly predictable....I would have preferred Mr. Quint’s cab-stand concert."
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