Reviews

Britten’s Violin Concerto followed, marking the New York Philharmonic debut of Alena Baeva. Immediately her sweetness of tone captured the ear and she proved herself to be an artist possessing both elegance and power. She addressed Britten’s virtuosic runs, double-stops, up-bow spiccato and all manner of technical challenges with precision and flair. Even in the most technically daunting moments, Baeva was completely in control of sound production, tone colour and phrasing, skilfully navigating Britten’s challenges with playing full of purpose and character. The way she pulled sound out of the violin was utterly captivating, and throughout the work, her poise and precision carried through. A standing ovation from many.

Presented in different tones in each piece of this unexpected programme, the notion of ‘fantasy’ seems as limitless as the art of the violinist who performs it. Franz Schubert's kaleidoscopic opus 159 provides a primer of exceptional quality: Alena Baeva makes the melody emerge from a translucent horizon like a mirage which will gradually take shape. The understanding between Baeva and Kholodenko is such that we have the impression that, even when silent, the violin continues to express itself in the piano playing. The duo subsequently multiplies their tightrope walking feats: the bewitching virtuosity of Igor Stravinsky and the whispered dreaminess of Robert Schumann prepare the ground for the mystical exaltation of Olivier Messiaen.

Alena Baeva, making her New York Philharmonic debut, played with assertive beauty and vibrato so quick, at times, that it seemed to disappear. With her understated legato and handsomely voiced harmonies, she made things sound easy. In guttural passages, she indicated Britten’s intentions without compromising her ability to return to lyricism.

A mesmerizing performance by violinist Alena Baeva and spectacular playing from the New York Philharmonic Orchestra.

Transfixing playing from Baeva, rendered with searing intensity and purity of tone.

Baeva’s performance under the direction of Minasi, which created a revolutionary new Beethoven sound with dynamic contrasts and a wonderfully free choice of tempo, was a great moment for Ensemble Resonanz.

Alena Baeva does everything, using the freedom in the tempo that Minasi gives her and throwing herself into the contrasts that he demands. The spectrum of her playing ranges from angular fortissimo to the most heartfelt singing. At some points it was as if she were playing just for herself: wonderfully quiet and tender.

Violinist Alena Baeva sparked storms of enthusiasm in Hamburg’s Elbphilharmonie: a breath-taking performance. Baeva is completely absorbed in her art but does not lose herself in self-expression, instead constantly maintaining dialogue with the orchestra. A brilliant soloist: you are almost afraid that the violin will catch fire! A fantastic performance that will not be forgotten.

You cannot fault Alena Baeva in her formidable interpretation of Shostakovich’s Violin Concerto No.2: dazzling technique, and appropriate colours for the composer, whose sound world demands a certain roughness in some passages and cadences.

There are soloists who distance themselves from this somber work, but Alena Baeva's attitude towards Shostakovich’s Violin Concerto No.2 was so vital, dedicated, and warm that it maintained all its purity and all its expressiveness.

The opportunity to listen to a work such as Shostakovich's Violin Concerto No.2 is always an important occasion and, from the first moment, it was clear that Alena Baeva was without question the correct choice of soloist. She has a powerful sound and a suitably dark tonality, and demonstrated a warm phrasing that gave superb results as a whole.

Special mention should be made of the great violinist Alena Baeva, who was faced with a work in which technical mastery must be combined with character and sensitivity. Baeva brought dazzling sparks to this individual work, imbuing every note with clarity and individual meaning.

In the hands of an artist like Baeva, apparently anything sounds interesting. Her playing is mesmerizing…

Baeva charms – sensual and lyrical…. Her technique and tone polish every note and send it out to the audience like a lustrous gem. She possesses awe-inspiring technique, and a tone that is soaring and entrancing.

Thoroughly captivating … a showcase of commanding technique, brilliant clarity, and jam-packed with heart and soul.

The sheer musical brilliance of Alena Baeva’s collaboration with the Orchestra of the 18th Century makes their performance essential listening.

Utterly ravishing and full of melody, Alena Baeva immediately impressed with her tone. I can see why Järvi (among others) is a keen champion of her skills and musicianship – we shall certainly see and hear a lot more of this excellent young artist. Baeva had made her mark with great aplomb.

Baeva brings sweetness of tone, flowing hauntingly before taking off with exciting virtuosity.

Alena Baeva is a violinist of proven musicality and impeccable intonation…. In the cadenza [of the Britten Violin Concerto], she created one of the most attractive moments in concert history. In a work full of connections, Baeva gave an entire articulatory lesson: you could not help but get carried away…

Exuberant – Alena Baeva’s interpretation is impassioned and passionate, inexorably leading to a standing ovation from the audience of the RAI Auditorium. She reveals her personal imprint through an ever brilliant and light sound, accompanied by an enviable variety in vibrato and impeccable technical mastery.

The musical empathy between Baeva & Jurowski was evident, not just in tempos and moment-to-moment detail, but in the very character of the piece. There were muscularity and thrilling virtuosity aplenty, but there was also gentle, intimate playing, drawing the audience into passages with the emotional complexity of chamber music. […] In the second movement, Baeva became a delicate, distant voice, poetic and captivating. In the Finale she let rip – swaggering, heroic, and full of personality.

Fine technique and imaginative phrasing…. In the Canzonetta, her beautiful violin tone and her lovely shaping of Tchaikovsky’s song-like melodies marked her out as an outstanding player, and her account of the Finale was not only strikingly virtuosic but had a compelling quality of joyous abandon.

Everything about the performance seemed to get under the skin of this very familiar work, giving [the Tchaikovsky Violin Concerto] more than a new lease of life. The first movement had poise and excitement in equal measure, with Alena Baeva demonstrating an exceptional evenness of tone across all the registers and an evident responsiveness to Vladimir Jurowski and the London Philharmonic Orchestra. The brief slow movement was given the most sensitive account, hushed and romantic in the most tasteful manner. The finale was everything you’d want it to be, thrillingly fast and technically sure footed, as well as having a true heart in the gentler passages. So, this was an undoubtedly a top-notch performance, making this masterpiece sound even more like one of the composer’s greatest works.

Soloist Alena Baeva had a glowing tone, with which she held sensual command… she formed the sovereign centre of the enchanted world of Szymanowski.

Baeva was a magnetic presence, and the sound of her instrument, the fullness of tone, and her marvelously precise intonation were admirable and beautiful in and of themselves. Her strength and fire made the [Bacewicz] concerto sound like a masterpiece.

Baeva can sing with the violin – a constantly fascinating sound technician, with the highest rhythmic versatility.

The same calibre as Janine Jansen – gripping musicality, warm, sensual, flawless, and accurate.