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Find comments and reviews below.

This evening, 29 year-old Ye-Eun Choi gave her debut in Paris stepping in for Julia Fischer: the audience, with good reason, greeted her with great enthusiasm. It must be said that the young Korean violinist does not lack assets; in the first place an admirable sense of musical phrasing, which encourages her never to lean back in the first solo of the concerto, treating it as what it is: a long and unique phrase, developing like an improvisation in a continuous breath. Ye-Eun Choi can count on a violin with a very distinguished sound: the lower strings are dense, nourished, the higher ones brilliant.

Brahms‘ Concerto, ceaselessly oscillating between these two extremes and cultivating its dramaturgy in the tension resulting from this confrontation of timbres, suits her perfectly. But the greatest asset of Ye-Eun Choi is undoubtedly the dexterity of her right hand, resulting in a remarkable inventiveness in the realization of the spiccato passages: the sound is sometimes percussive but with a lot of resonance to the manner of a tambourine (this is obviously particularly the case in the final movement), sometimes very dry with the edge of a blade that would cut the string.

In the first movement, her playing of chords is of imperious authority: the simple scratching of the bow against the strings fills the room, and one immediately feels overwhelmed by the sudden and organic verticality of the musical discourse. Only the vibrato, quite tight, is not endowed with the same inventiveness and suffers from a certain systematism. As an encore, an Andante by Bach, played with the best taste, fully convincing us of the maturity of the young German-Korean, formed by Anne-Sophie Mutter and especially by the legendary Ana Chumachenco, also professor of Julia Fischer.

By Pierre Liscia

L'Auditorium de Radio France

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.

Mannheimer Morgen

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.

Badische Zeitung

»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.«

Tatjana Mamaeva

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 Beethovens Violin Concerto, which she endowed with an unusually thoughtful, profoundly explorative character far removed from any ostentation.“

Hofer Anzeiger / Frankenpost

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.“

Die Rheinpfalz - Ludwigschafener Rundschau

„The performance was led by the Alan Gilbert and the violinist Ye Eun Choi.

She was showered with an acclaimed ovation for her graceful performance.

she presented the audience with an interpretation of Medelssohns love, jealousy, innocence, and throbbing heart with an exceptional concentration that transcends her young age. Her seductive performance was as attractive as her beautiful wine colored dress.“

The Daily Economic News Magazine

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.“

Die Rheinpfalz - Ludwigschafener Rundschau

„She plays the violin like flowing river and she is a musician who knows to put her words in the violin”

Espace musique, Radio-Canada's all-music radio network

„Ye-Eun Choi demonstrated her technical brilliance with precisely articulated staccato runs in the

She enchanted her audience with technique and grace.

Weilheimer Tagesblatt

“An outstanding reputation precedes the 30-year-old violinist Ye-Eun Choi. Everyone is enthusiastic about her unique style and individual expressiveness on the instrument. (…) Attractive and highly emotional. And indeed: The famous Violin Concerto op. 47 by Jean Sibelius was performed by Ye-Eun Choi with a breathing style and a bewitchingly beautiful and multifaceted tone, which I have seldom experienced in this clarity. 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. The most complicated sounds and arpeggios seemed brilliant and with overtone-rich radiance. In an individual way, the soloist also introduced the pithy final movement, which Sibelius himself called „dance macabre“. Ye-Eun Choi renounced the percussive parts and enthused everyone with the dark and rich tone of the main theme.”

By Silvia Thurner

KULTUR

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.

Saarbruecker Zeitung

Die von Mutter geförderte südkoreanische Geigerin Ye-Eun Choi war die Solistin bei dem rund 45-minütigen, einsätzigen Werk, das seinem Titel gemäß wenige musikalische Elemente immer wieder in neuer Gestalt bringt. Vor allem aber ist das Stück ein großer dramatischer Spannungsverlauf zwischen motorischer Kraft, dramatischen Aufschwüngen und Momenten fast meditativer Ruhe. Es ist ein großräumig angelegtes Konzert mit dankbaren solistischen Aufgaben und einer opulenten Kadenz, das immer wieder bekannte Violinkonzerte (etwa das von Beethoven) zitathaft aufscheinen lässt. Das gleichsam sinfonisch ambitionierte Stück, das dem Orchesterpart neben der Solovioline gleichberechtigte Bedeutung gibt, schließt mit einem großen erhabenen, fast apotheotischen Klangfeld.

Ye-Eun Choi faszinierte nicht nur durch die technische Beherrschung ihres umfangreichen Parts, noch viel mehr begeisterte sie durch die Intensität ihres Vortrags und ihre Identifikation mit Geist und Musik des Werks. Eine Freude war auch ihre Zugabe mit einem Solowerk von Bach.

Die Rheinpfalz

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.«

Lilienberg Unternehmerforum

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.

Norrköpings Tidningar

„Ms. Choi showcased a lush, beautiful sound and impressive technical facility.

She made an admirable debut.“

Pittsburgh Post-Gazette

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!

Artsforum Magazine

„Ye-Eun Choi won over her audience with her outstanding technical mastery presented with composure and astonishing maturity.

“With great concentration and sensitivity”

It couldnt really have got any better. She achieved the astonishing feat of sustaining the tension through to the glittering finale.“

Frankfurter Allgemeine Zeitung

„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.“

Strings

This evening, 29 year-old Ye-Eun Choi gave her debut in Paris stepping in for Julia Fischer: the audience, with good reason, greeted her with great enthusiasm. It must be said that the young Korean violinist does not lack assets; in the first place an admirable sense of musical phrasing, which encourages her never to lean back in the first solo of the concerto, treating it as what it is: a long and unique phrase, developing like an improvisation in a continuous breath. Ye-Eun Choi can count on a violin with a very distinguished sound: the lower strings are dense, nourished, the higher ones brilliant.

Brahms‘ Concerto, ceaselessly oscillating between these two extremes and cultivating its dramaturgy in the tension resulting from this confrontation of timbres, suits her perfectly. But the greatest asset of Ye-Eun Choi is undoubtedly the dexterity of her right hand, resulting in a remarkable inventiveness in the realization of the spiccato passages: the sound is sometimes percussive but with a lot of resonance to the manner of a tambourine (this is obviously particularly the case in the final movement), sometimes very dry with the edge of a blade that would cut the string.

In the first movement, her playing of chords is of imperious authority: the simple scratching of the bow against the strings fills the room, and one immediately feels overwhelmed by the sudden and organic verticality of the musical discourse. Only the vibrato, quite tight, is not endowed with the same inventiveness and suffers from a certain systematism. As an encore, an Andante by Bach, played with the best taste, fully convincing us of the maturity of the young German-Korean, formed by Anne-Sophie Mutter and especially by the legendary Ana Chumachenco, also professor of Julia Fischer.

By Pierre Liscia

L'Auditorium de Radio France

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.

Mannheimer Morgen

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.

Badische Zeitung

»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.«

Tatjana Mamaeva

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 Beethovens Violin Concerto, which she endowed with an unusually thoughtful, profoundly explorative character far removed from any ostentation.“

Hofer Anzeiger / Frankenpost

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.“

Die Rheinpfalz - Ludwigschafener Rundschau

„The performance was led by the Alan Gilbert and the violinist Ye Eun Choi.

She was showered with an acclaimed ovation for her graceful performance.

she presented the audience with an interpretation of Medelssohns love, jealousy, innocence, and throbbing heart with an exceptional concentration that transcends her young age. Her seductive performance was as attractive as her beautiful wine colored dress.“

The Daily Economic News Magazine

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.“

Die Rheinpfalz - Ludwigschafener Rundschau

„She plays the violin like flowing river and she is a musician who knows to put her words in the violin”

Espace musique, Radio-Canada's all-music radio network

„Ye-Eun Choi demonstrated her technical brilliance with precisely articulated staccato runs in the

She enchanted her audience with technique and grace.

Weilheimer Tagesblatt

“An outstanding reputation precedes the 30-year-old violinist Ye-Eun Choi. Everyone is enthusiastic about her unique style and individual expressiveness on the instrument. (…) Attractive and highly emotional. And indeed: The famous Violin Concerto op. 47 by Jean Sibelius was performed by Ye-Eun Choi with a breathing style and a bewitchingly beautiful and multifaceted tone, which I have seldom experienced in this clarity. 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. The most complicated sounds and arpeggios seemed brilliant and with overtone-rich radiance. In an individual way, the soloist also introduced the pithy final movement, which Sibelius himself called „dance macabre“. Ye-Eun Choi renounced the percussive parts and enthused everyone with the dark and rich tone of the main theme.”

By Silvia Thurner

KULTUR

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.

Saarbruecker Zeitung

Die von Mutter geförderte südkoreanische Geigerin Ye-Eun Choi war die Solistin bei dem rund 45-minütigen, einsätzigen Werk, das seinem Titel gemäß wenige musikalische Elemente immer wieder in neuer Gestalt bringt. Vor allem aber ist das Stück ein großer dramatischer Spannungsverlauf zwischen motorischer Kraft, dramatischen Aufschwüngen und Momenten fast meditativer Ruhe. Es ist ein großräumig angelegtes Konzert mit dankbaren solistischen Aufgaben und einer opulenten Kadenz, das immer wieder bekannte Violinkonzerte (etwa das von Beethoven) zitathaft aufscheinen lässt. Das gleichsam sinfonisch ambitionierte Stück, das dem Orchesterpart neben der Solovioline gleichberechtigte Bedeutung gibt, schließt mit einem großen erhabenen, fast apotheotischen Klangfeld.

Ye-Eun Choi faszinierte nicht nur durch die technische Beherrschung ihres umfangreichen Parts, noch viel mehr begeisterte sie durch die Intensität ihres Vortrags und ihre Identifikation mit Geist und Musik des Werks. Eine Freude war auch ihre Zugabe mit einem Solowerk von Bach.

Die Rheinpfalz

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.«

Lilienberg Unternehmerforum

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.

Norrköpings Tidningar

„Ms. Choi showcased a lush, beautiful sound and impressive technical facility.

She made an admirable debut.“

Pittsburgh Post-Gazette

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!

Artsforum Magazine

„Ye-Eun Choi won over her audience with her outstanding technical mastery presented with composure and astonishing maturity.

“With great concentration and sensitivity”

It couldnt really have got any better. She achieved the astonishing feat of sustaining the tension through to the glittering finale.“

Frankfurter Allgemeine Zeitung

„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.“

Strings