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2004 Reviews
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Royal
Liverpool Philharmonic Orchestra
Assembly Rooms, Derby
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There
can't be many violinists playing as well as Tasmin Little
is at the moment. Her technique is well-nigh faultless,
and her tone covers a wide range from rich and gutsy on
the lower strings to pure and clear at the top.
Her response to Elgar's quicksilver changes of mood made
for an intensely gripping account of his Violin Concerto.
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Derby
Telegraph, December 2004
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Royal
Liverpool Philharmonic Orchestra
Philharmonic Hall, Liverpool
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It
was something of a stroke of genius to combine the works
of Elgar and Ravel together in one concert.
Not
only were they superbly inventive composers, men from
whom melody flowed as if without effort, but they were
also massively gifted orchestrators. They could use sound
quality, timbre and pitch to perfection.....
......Tasmin Little's performance of the Elgar Violin
Concerto was little short of stupendous. It was totally
confident, at ease and full of virtuoso skill.
Conductor Gerard Schwarz allowed the opening Allegro to
blossom to the full, with the RLPO sounding much more
confident than it has of late.
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Glyn
Mon Hughes, Liverpool Daily Post, December 7 2004
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Royal
Philharmonic - Mendelssohn Violin Concerto
Royal Festival Hall, Matthias Bamert
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Tasmin Little was the soloist in an accomplished performance
of Mendelssohn’s Violin Concerto.
Throughout there was a real sense of music-making, and the
duets with the flutes in the final movement were exhilarating.
She is a player who communicates the pleasure of her virtuosity,
which is surely what virtuosity is for. |
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Nick
Kimberly, Evening Standard, 29 September 2004
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The
Minnesota Orchestra - Maw's Violin Concerto
Minnesota, USA
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.....
Maw's Violin Concerto was composed for Joshua Bell, who
won a 2001 Grammy for his recording of the work (and accompanied
the Minnesota Orchestra on much of its recent tour, but
playing Tchaikovsky). It's easy to hear why this work created
such a sensation for soloist and composer alike: It's loaded
with opportunities for spectacular playing. But it's hard
to imagine that Bell could bring any more interpretive skill
and performing panache to the piece than Little does.
Displaying a variety of bright colors in her sound and harlequinesque
off-the-shoulder gown, Little threw herself into the work
with such physicality that the decision of the first violins
to back their chairs up
proved a wise one. Little was extraordinary, especially
on the arresting Romanza, when she executed many an athletic
maneuver while the strings hummed beneath her.
Maw's concerto is a taxing one for a violinist, demanding
soothing sweetness here, a rough cacophony there, and many
a stop on the spectrum between them, but Little attacked
it with astounding confidence.... |
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Rob Hubbard, Minnesota Pioneer Press, 5 March 2004
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