- Yuja Wang: Managing the piano, conductors and the laundry
- Cleveland Orchestra, pianist Yuja Wang conspire on dynamic night of Russian favorites (review)
The Cleveland Plain Dealer
- ALISA WEILERSTEIN'S ELGAR/CARTER CELLO CONCERTOS CD IS BBC MUSIC'S "RECORDING OF THE YEAR 2013"
BBC Music Magazine
- Violinist Stefan Jackiw's solo soars for PSO
- Concert review: PSO succeeds with world premiere
- SPCO performs new works by composers Kevin Puts and John Luther Adams
Minneapolis Star Tribune
- Review: SPCO premieres will double your pleasure
St. Paul Pioneer Press
- Celebrating the Stradivarius
The Wall Street Journal
- SEATTLE SYMPHONY TO GIVE FREE LOCAL PREVIEW CONCERTS IN ADVANCE OF NEW YORK CITY TOUR
- For Venezuelan pianist Gabriela Montero, the political is personal
Stefan Jackiw: Talent That's Off the Scale
The Washington Post
Listening to the apparently endless parade of expert, teenage violinists passing through our concert halls, you'd be hard-pressed to find one with a more consistently beautiful sound than 19-year-old Stefan Jackiw. His reading of Saint-Saens's Violin Concerto No. 3, with the Baltimore Symphony Orchestra at the Music Center at Strathmore on Thursday, was marked by elegance, a supple, singing line and a liquid tone that never hardened, even in the score's bravura passages.
This was gorgeous playing -- from the spot-on precision in the first movement's stratospheric high notes through the poise and nobility imbuing the swaggering finale. If Jackiw's performance was more laid-back and objective than emotionally invested, his playing provided enough ear candy to satisfy. The BSO proved a suitably suave partner, with conductor Yuri Temirkanov coaxing silken playing from the strings and subtly blended chording from the winds.
The orchestra was more extroverted in Franck's Symphony in D Minor. It's a piece that suits Temirkanov's temperament well -- or, rather, the conductor shaped the score successfully to his will. In Temirkanov's hands, this might have been a lost work by Tchaikovsky or Glazunov, so Russian was the surge of the phrasing, the crush of the climaxes, the cut-and-thrust in the brass playing, the soulfulness in the violins and lower winds. But in this least overtly French of French symphonies, his pulse-quickening, Slavic approach worked to exciting effect.