The Week in Reviews, Op. 528: Tessa Lark, María Dueñas, cellist Pablo Ferrández

December 3, 2025, 2:39 PM · 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. Click on the highlighted links to read the entire reviews.

Violinist Tessa Lark and conductor Cristian Macelaru with the Cincinnati Symphony Orchestra. Photo by J.P. Leong, courtesy of the CSO.

Tessa Lark performed Lisa Bielawa’s Violin Concerto No. 2, “Pulse,” with the Cincinnati Symphony Orchestra.

Cincinnati Business Journal: "Lark’s phrasing was expressive and upbeat, and her lyrical themes reached into the stratosphere of her instrument with peerless intonation."

María Dueñas performed Lalo's Symphonie espagnole, Op.21 with the Philadelphia Orchestra and Yannick Nézet-Séguin.

Bach Track: "Dueñas’ style has greatly evolved over the past year, and her chameleon-like energy matched the music perfectly.... She moved effortlessly from the buoyant mood of the Scherzando to the weighty Intermezzo, with contralto notes phrased to mimic a Spanish folk singer."

Pablo Ferrández performed Dvorák's Cello Concerto in B minor with the Boston Symphony Orchestra and Samy Rachid.

Boston Musical Intelligencer: "Ferrández entered with big, rounded tone, certainty of intonation, immaculate articulation, and a poet’s intensity. At every dynamic his tone projected majestically into the hall with nary a scratchy moment, even in the triple stops. "

Midori performed in recital with pianist Ieva Jokubaviciute in Hong Kong.

MyNews: "Midori’s rich, expressive tone in the adagio was golden, and the pair’s blink-and-miss scherzo (in Beethoven’s Sonata for Piano and Violin No 5 in F) was a show of precision in the execution of super-spiky spiccato."

Siqing Lü performed in recital with pianist Derek Wang at Harvard's Paine Hall.

The Harvard Crimson: "Lü’s performance brought back generational memories of many Asian-American and Chinese audience members who resonated with the music. The attempt to bring Chinese repertoire alongside with Western classical music was welcomed by many, bridging cultures and communities."

Akiko Suwanai performed the Tchaikovsky Violin Concerto with The Hallé and Kahchun Wong.

Bach Track: "Suwanai’s opening statement emerged with insight and beautifully sustained lyricism. As the first movement unfolded, her attention to detail was remarkable: each note felt cherished, phrases carried graceful shape, and articulation remained exquisitely controlled."

Ning Feng performed Korngold's Violin Concerto in D major, Op. 35 with the Bournemouth Symphony Orchestra and Sian Edwards.

Bach Track: "The rumbunctious finale showcased Feng’s athleticism as he and the orchestra made a homicidal dash to the finishing post, exhilarating to the very end."

Charlotte Spruit performed the Brahms Violin Concerto with Worthing Symphony Orchestra.

Sussex World: "Knees bending, body semi-lunging towards Grier, Spruit’s intent and commitment was real, and with it, she was amorous in the second main tune we hear when the time changes form duple to triple."

Chloe Hanslip performed Prokofiev’s Violin Concerto No. 2 with the Aurora Orchestra in U.K.

LeftLion: "...she was superb, belting out the notes with perfection and aplomb."

Gil Shaham performed in recital with pianist Akira Eguchi at the Barns at Wolf Trap.

Washington Classical Review: "...the most ravishing musical moments came in the slow movement of Fauré’s Violin Sonata in A Major, with Shaham’s vibrant tone rising over the somber, minor-shaded background created initially by Eguchi. The duo wove a spell of serene sound, especially in the softest sections of this movement."

Stefan Jackiw, cellist Alisa Weilerstein and pianist Inon Barnatan performed in recital at Queen Elizabeth Hall, London.

Bach Track: "Given the solo career status of Weilerstein, and of the pianist and the violinist, this equated to what the 1970s rock and pop world called a supergroup."

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Paul Deck

December 3, 2025 at 08:18 PM · One has to admire the career of Tessa Lark: Original, brave, and productive. I've always wondered whether she approaches a new piece in the general manner that she would have learned from Kurt Sassmannshaus -- with quarter notes played at 40 bpm to develop intonation, etc.

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The Week in Reviews, Op. 528: Tessa Lark, María Dueñas, cellist Pablo Ferrández

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