Nicola Benedetti Quotes, Reviews & Features
"She has a sumptuous tone. She digs into a phrase with plenty of intensity and clearly enjoys showing off her technique, but she never crosses the line to showiness. An admirable violinist, Benedetti [has] certainly earned the right to be taken seriously."
Mark Swed, Los Angeles Times
"From the diamond-cut opening to her high-octane charging of the orchestral batteries through to the cadenza that dominates the first movement, Benedetti played to her very limits."
Hilary Finch, The Times
"Benedetti is particularly persuasive in the slower sections, her playing touching and intimate. In the two Vivaldi Arias, she’s fluid and elegantly expressive."
Duncan Druce, Gramophone Magazine (Italia)
"From her first note, it was clear that Benedetti’s artistry is impressive. She projected a sweet, stunning sound on her Stradivarius, played with a fresh spirit and clearly had something to say."
Janelle Gelfand, Cincinnati Enquirer
"Benedetti draws an exceptionally rich and full-bodied sound from her Stradivarius instrument. Her vibrato was ample without being excessive, and her bowing has character."
Mark Kanny, Pittsburgh Tribune
"Young violinist Nicola Benedetti simply owns this piece [Szymanowski First Violin Concerto]. Her utter self-confidence and very strong technique keep everything marvellously free and spontaneous, but there is real rigour in her work and real commitment. This is a knockout performance."
David Gordon Du, The Vancouver Sun
"It makes and excellent coupling, and Benedetti’s interpretations have much that is individual in them, notably that more regularly than most great virtuosos on disc she uses very often the gentlest of whispered pianissimo, with impressive effect. She establishes that quality in the long first movement of the Tchaikovsky, where so many artists in the lyrical second subject play with a big, fat tone. Her phrasing too is freely expressive, but her regular use of extreme rubato rarely if ever sounds contrived, always spontaneous and from the heart."
Edward Greenfield, Gramophone Magazine (Tchaikovsky and Burch: Violin Concertos)
"As an encore she chose the Sarabande from Bach's D-minor violin Partita, stripped-back, introverted and probably the best playing of the evening."
Kate Molleson, The Guardian
"Accompanied by the Scottish Chamber Orchestra, under the direction of Christian Curnyn, Benedetti plays with brilliant virtuosity, absolute clarity, and a gentle, dolce tone that makes her performances especially personal and attractive. The minimal vibrato in Benedetti's playing gives it an authentic sheen, which is complemented by the ensemble's period sound in the concertos, as well as by the scintillating continuo part in the sonatas."
"Without falling into sentimentality, her flowing legato can be traced to the finest opera and lieder singers."
Marc Geelhoed, Time Out Chicago
"Benedetti keeps ornamentation delicate and rapid, and allows her phrasing to move buoyantly with the music’s dance rhythms rather than weighted down in grandiose Romantic gestures. Against spruce and vigorous accompaniment from the Scottish Chamber Orchestra, her sound is significantly streamlined."
Kate Molleson, Herald Scotland (Italia)
"The shorter phrasing demanded by the use of a baroque bow, and the more sparing use of vibrato demanded by baroque style, are constraints which merely increase her expressivity and force her to new heights of intensity."
Warwick Thompson, The Metro (Italia)
"Entirely focused throughout the performance, Benedetti 's performance was richly musical and engaged the audience right through to the exuberant joy of the finale."
Una Frances-Clarke, classicalcriticism.com
"Benedetti has a very expressive and sweet tone, reaching out with spirit."
Harald Eggebrecht, Süddeutsche Zeitung
"The two young musicians [Nicola Benedetti and Leonard Elschenbroich] burnt with passion so that the Brahms was wonderful, amazing actually, the two breathing into a rarely-heard conversation…. They played finely tuned music, the two awake with rich sound and perfect intonation."
Gabriele Luster, Klassikinfo.de
"Benedetti's playing has become very sweet and accurate…the so-called love duet in the andante had the right sort of tenderness, and in the last movement the pair found an exhilarating synergy."
Michael Church, The Independent