This evening, Ye-Eun Choi gave her debut in Paris stepping in for Julia Fischer: the audience, with good reason, greeted her with great enthusiasm. a long and unique phrase, developing like an improvisation in a continuous breath.
Brahms‘ Concerto, ceaselessly oscillating between these two extremes and cultivating its dramaturgy in the tension resulting from this confrontation of timbres, suits her perfectly.
As an encore, an Andante by Bach, played with the best taste.
Solist bei den von Anne-Sophie Mutter 1995 uraufgeführten „Metamorphosen“ ist Ye-Eun Choi, eine Stipendiatin der Anne-Sophie Mutter Stiftung, die sich hochbegabten jungen Talenten widmet.
Und diese Stiftung befindet über Ye-Eun Choi, dass sie sich „durch einen einzigartigen Klang“ auszeichne, durch „ein reiches, warmes Timbre, das sich aus einer hoch sensitiven Klanggebung und einem dynamischen Enthusiasmus zusammensetzt“.
Das verspricht doch einiges.
She offers a lot musically as well, in Krzysztof Penderecki’s rarely heard Cadenza. It’s amazing how much tension Choi creates before she returns Cadenza to the poetic.
»The young South Korean, Ye-Eun Choi, is one of the world’s leading violinists who has performed with many renowned orchestras. The audience was thrilled by her interpretation of Krzysztof Pendericki’s highly philosophical and demanding Metamorphoses, also known as his 2nd Violin Concerto.
Ye-Eun’s transparent, but at the same time carrying sound, became the jewel of the first half of the concert.«
An astonishing maturity and a ladylike earnestness unfold in those passages where the freshness of youth might be expected. The violinist endows her tone not with polished gloss but with the mellowness of sensitivity and sincerity.”
“Rapturous applause from both the audience and the orchestra was showered on the violinist Ye-Eun Choi at the seventh subscription concert of the Hofer Symphoniker.
She gave a brilliant rendering of Ludwig van Beethoven’s Violin Concerto, which she endowed with an unusually thoughtful, profoundly explorative character far removed from any ostentation.”
“She plays the violin like flowing river and she is a musician who knows to put her words in the violin”
“Ye-Eun Choi demonstrated her technical brilliance with precisely articulated staccato runs in the
She enchanted her audience with technique and grace.
“An outstanding reputation precedes the violinist Ye-Eun Choi. Everyone is enthusiastic about her unique style and individual expressiveness on the instrument. (…) Attractive and highly emotional.
The famous Violin Concerto op. 47 was performed by Ye-Eun Choi with a breathing style and a bewitchingly beautiful and multifaceted tone. Practically without any usual playing noises, she wield the bow and formed emotional as well as virtuoso phrasings and double stops with a playful lightness.
As a result Ye-Eun Choi reached a great musical breadth and depth. With that she gave every little sound its significance as a whole.
Saarbrücken. Krzysztof Penderecki dirigierte die Deutsche Radiophilharmonie in der Congresshalle.
Für Spannung über die Dauer von 40 Minuten sorgte die junge südkoreanische Geigerin Ye-Eun Choi, die nicht nur perfekte Virtuosität, sondern auch leidenschaftliche Intensität auf ihrer Guadagnini-Violine einbrachte.
Eine großartige Interpretation aller Musiker, man spürte die atemlose Spannung und Aufmerksamkeit auch bei den Zuhörern. Sie wurden für den regen Beifall mit einer Bach-Zugabe belohnt: „Andante“ aus der 2. Solosonate. Ein beeindruckender Abend.
What made this Schubert interpretation quite extraordinary was of course the phenomenal musicality of its execution. Vitality abounded.
Every note breathed, declaimed and sang; every musical cell had its precise meaning. In short, one can only bow down in awe of such beauty.“
Ye-Eun Choi convinced the audience with her mature playing and exquisite tone in both sonatas and also later with the Tchaikovsky-encore.
She presented herself with a very unique sound; a rich, warm timbre which is composed from a highly sensitive soundscape and a dynamic enthusiasm: a combination that is rarely heard.
It is not surprisingly that her colourful, expressive playing and astounding lyrical virtuosity is been celebrated by the media internationally. Also the Lilienberg audience was thrilled by her performance.«
The elegant violin play by tonight’s soloist Ye-Eun Chio in Scottish Fantasy by Max Bruch combined a sparkling virtuosity and a compact, pithy tone which occasionally was smoothed into thin lines. Fragment from various folk tunes alternating with brilliant runs worked together with the orchestra.
“Ms. Choi showcased a lush, beautiful sound and impressive technical facility.
She made an admirable debut.”
It was an irresistible immersion in sweeping romanticism, with engaging changes in tempo and tone.
At various moments tempestuous, yearning, confident, questioning, happy, and bittersweet, the stand-out first section came to an end in a rousing finish.
Offering up passion with a hint of the exotic, it was a genuine showstopper!
“Ye-Eun Choi won over her audience with her outstanding technical mastery presented with composure and astonishing maturity.
“With great concentration and sensitivity”
It couldn’t really have got any better. She achieved the astonishing feat of sustaining the tension through to the glittering finale.”
“Ye-Eun Choi gave an exceptional performance of the Shostakovich Concerto. She used broad musical gestures and a generous supply of tone colors to give her performance continuity and a sense of musical line.”