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Sharon Bezaly

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Sharon Bezaly reviews

'Delights' indeed! (...) If Sharon Bezaly were to play the musical equivalent of the London telephone directory one would no doubt still sit mesmerized by her sublime artistry Julian Haylock, International Record Review, Jan. 2008 (BIS-SACD-1639 - French Delights)

Sharon Bezaly is God’s gift to the flute The London Times, 7 October 2005

Paganini de la flûte Monde de la Musique La più grande flautista della sua generazione Musica – Italy

A flutist virtually without peer in the world today Classics Today Wäre die Flöte eben keine Flöte, sondern als Soloinstrument so populär wie Klavier oder Geige, man könnte ihr eine Horowitz – oder Oistrach – Karriere prophezeien... Verzaubernd: Sharon Bezaly Frankfurter Allgemeine Zeitung

Sharon Bezaly cares for music. Whoever listens to the Israeli flautist playing on her golden flute immediately wishes to compose a piece just for her Der Bund, 12 May 2007

Her recordings and concert appearances are typically more than simply triumphs: they are defining artistic events International Record Review Anyone who has yet to encounter the playing of the astonishing young flautist Sharon Bezaly should do so without delay. She makes a sensational sound, can play anything from Bach to contemporary, and mastered the art of circular breathing, making quick inhalations in the middle of long phrases a thing of the past Classic FM Magazine, May 2006 As usual Sharon Bezaly unfolds here her amazing playing, abounding in timbre and personal inventions Le Monde de la Musique, May 2006 Sharon Bezaly, flautist extraordinaire, proved extraordinary The London Times, 17 January 2007 The Deceitful Face is essentially meditative, the music swinging cyclically between sound and silence. Bezaly plays it phenomenally ... The Guardian, Friday May 5, 2006 It is impossible to imagine this beguiling performance ever being bettered International Record Review She plays like a goddess, notes flying at the speed of light. Her repertoire is ample and bold, and there is almost no piece for her instrument that she has not tackled yet. Fellow musicians and critics rave at her gifts, composers are delighted to write for her. A new and exciting violinist? Russia’s next piano prodigy? No, we are talking about Sharon Bezaly, flûtiste extraordinaire“ Fanfare Es gibt nur wenige Flötistinnen von Rang, die auf dem Klassik-Markt ebenso präsent sind wie im Konzertsaal. Sharon Bezaly gehört zweifellos dazu. Mit ihrer goldenen Querflöte (24 Karat) tingelt die gebürtige Israelin durch die Welt, tritt mit bekannten Orchestern auf, holt sich renommierte Preise, begeistert Publikum und Presse gleichermassen. Wie gut die 35-Jährige ihr Instrument beherrscht, bewies sie am 5. Symphoniekonzert mit Spendenaufruf zugunsten der Schweizerischen Gesellschaft für Cystische Fibrose. Begleitet vom Berner Symphonie-Orchester interpretierte sie «Das Konzert für Flöte und Orchester» des finnischen Komponisten Kalevi Aho. Kalevi Ahos Werk, das eigens für sie geschrieben wurde, ist ebenso rätselhaft wie stimmungsvoll. Ein Konzert voller Überraschungen, das die Gegensätze auslotet – vom suchenden Misterioso im ersten Satz bis hin zu den dramatischen, fast schon apokalyptischen Ausbrüchen im zweiten. Sharon Bezaly trug das Ihre dazu bei: Mit erstaunlicher Behändigkeit meisterte sie die anspruchsvollen Tonläufe, stieg hinauf in die höchsten Höhen, bewältigte die perlende Kadenz im Mittelsatz, als wäre es das Einfachste der Welt. Berner Zeitung, 12 May 2007 [ There are not many flautists who are equally present in the music business as they are present on the stage. Sharon Bezaly undoubtedly is one of them. With her golden flute (24 carat) the Israeli- born tours the world, performs with renowned orchestras, is honoured with prestigious awards, and praised by both her audience and the media alike. Just how good the 35 year-old knows her instrument became clear during the 5th symphonic concert with an appeal for funds for the Swiss Foundation for Cystic Fibrosis. Accompanied by the Bern Symphony Orchestra she performed the “Concerto for Flute and Orchestra” by Finnish composer Kalevi Aho. Kalevi Aho's work was written for the flautist herself and is as mysterious as it is atmospheric. A concert full of surprises that explores contrasts – from a searching Misterioso in the first to the dramatic almost apocalyptic explosions in the second movement. Sharon Bezaly added her part: With amazing agility she mastered the demanding melodical runs, climbed the highest heights and played pearly cadenzas in the middle movement as if it was the easiest thing in the world. Berner Zeitung, 12 May 2007 Sharon Bezaly sorgt für Musik. Wer die israelische Flötistin auf ihrer Goldflöte spielen hört, möchte für sie komponieren. Bereits sieben Flötenkonzerte wurden dem jungen Ausnahmetalent gewidmet; im Kultur-Casino Bern steht das Ende 2003 uraufgeführte Flötenkonzert des finnischen Komponis-ten Kalevi Aho erstmals auf dem Programm. Wie eng bei diesem dreisätzigen Panoptikum an Farben, Stimmungen und Stilen die Bindung zwischen Komponist und Interpretin ist, wird am Schluss des Werkes besonders deutlich: Ohne die Technik der Zirkuläratmung, welche ein kontinuierliches Blasen ohne Atempausen ermöglicht, könnte der langgedehnte Schlusston gar nicht gespielt werden. Doch Sharon Bezaly demonstriert nicht die phänomenale Technik, welche ihr das äusserst anspruchsvolle Konzert abverlangt. Sie lebt dessen Musik. Sie lässt den vagen Diskurs zwischen Flöte und Harfe zu Beginn des ersten Satzes als einen existenziellen Prozess der «Melodiewerdung» erfahren. Im zweiten, »presto, leggiero» überschriebenen Satz scheint des Lebens Glück und Überfülle aus Bezalys – extra für sie angefertigter – Goldflöte hervorzusprudeln. Der Bund, 12 May 2007 [ Sharon Bezaly cares for music. Whoever listens to the Israeli flautist playing on her golden flute immediately wishes to compose a piece just for her. Seven flute concerts altogether have been written for this young exceptional talent up until now and at the Kultur-Casino in Bern, it was Kalevi Aho's flute concert that was presented here for the first time. Just how close the connection between composer and soloist is in this colourful collection of sounds, moods and styles becomes clear at the end of the work: Without the technique of circular breathing, which enables the musician to blow without having to stop, the extended final note would be impossible to play. But Sharon Bezaly does not perform to demonstrate the phenomenal technique the extremely demanding concerts requires. She lives the music. She performs the vague discourse between flute and harp at the beginning of the first movement as an existential process of the creation of melody. And in the second movement, “presto leggiero”, the joy and plenitude of life itself seems to burst out of Bezaly's golden flute. Der Bund, 12 May 2007 Bezaly's energy and brilliance produce a more incisive account of the Rodrigo than its dedicatee, James Galway. Sparky staccatos fly over the lightly scored, piquant colours of the orchestral support, while the Moorish-tinged melody of the middle movement is affectingly BBC Music Magazine, February 2007 Soutenue par l'Orchestre Symphonique de São Paulo que dirige avec brio John Neschling, Sharon Bezaly nous laisse une nouvelle fois pantois devant une aisance technique époustouflante qui s'accompagne ici d'une musicalité de chaque instant, enchanteresse et lumineuse à la fois. Dans une belle prise de son Stéréo et multicanal, ce récital pour flûte est une merveille. Opus d'or, 30 January 2007 Sharon Bezaly, flautist extraordinaire, proved extraordinary even when silent, swaying and juddering, parading the flute like Moses’s staff. The Times, 17 January 2007 Sharon Bezaly effortlessly confirms her position at the top of the tree as regards current flute professionals. Crystal clear and beautifully projected, her tone is never hard or forced, vibrato is tempered and used expressively, phrasing musical and unmannered, technique flawless. Musicweb International, January 2007 The Borne Fantaisie, stunningly arranged here by Giancarlo Chiaramello, finds Bezaly at her most enchantingly seductive ... As with so much French neo-Classical music of this period, the outer movements have a certain "keep-going-until-you-stop", moto perpetuo structural amorphousness about them, yet such is Bezaly's unimposing, fleet-footed artistry that it seems not a note too long. It cannot be overstated how much her complete command of circular breathing comes into its own in music which is almost inevitably punctuated by the sound of quick snatches of air – but not her! ... Another palpable hit for the most stunningly gifted flautist to have emerged in years. International Record Review, January 2007 You always get the sense that Bezaly has thought about the whole program; she's a musician first, a virtuoso second, and gratifyingly concerned about good presentation. www.classicstoday.com, January 2007 Wie aus einem Guss erscheint ihre Melodieführung. Geschmeidig und farbig der Ton. Ein Merkmal, das durch das animierende Zusammenspiel mit der Harfenistin Julie Palloc noch verstärkt wurde. Wie aus einem Guss erscheint ihre Melodieführung. Geschmeidig und farbig der Ton. Ein Merkmal, das durch das animierende Zusammenspiel mit der Harfenistin Julie Palloc noch verstärkt wurde. Westdeutsche Allgmeine Zeitung, 23 December 2006 Die Israelin Sharon Bezaly nimmt alle Aufmerksamkeit für sich in Anspruch, weil sie auf ihrem Instrument einen unvergleichlich warmen, milden, samtigen Ton erzeugt und ihn mit untrüglichem Balance-Gespür nur ganz knapp über den Orchesterklang schweben lässt. Sie kann ihren Melodienstrom auch so weit zurücknehmen, dass er im Chor der Streicher aufgeht oder nur als farbige Spur herausleuchtet. Und die Flötistin kann einzelne Töne so hintupfen, als wolle sie die perlenden Harfenakkorde von Julie Palloc imitieren. Mannheimer Morgen, 15 December 2006 Dass Sharon Bezaly das Konzert nicht nur spielte, sondern auch tanzte, sorgte dabei für eine besondere Note. Aachener Nachrichten, 22 December 2006 Dass das Werk für einen Raum von der Größe des Thiersch-Saals fast zu filigran ist, galt insoweit zumindest nicht für den äußerst tragfähigen, runden und verhältnismäßig vollen Ton der Flötistin Sharon Bezaly. Wiesbadener Tagblatt, 16 December 2006 Sharon Bezaly is rapidly emerging as one of today's leading flautists. Here she plays Ibert and Rodrigo concertos with delicacy and exciting virtuosity. www.thefirstpost.co.uk, 8 December 2006 The flute might not be the meatiest instrument, but if anyone can show its strengths it is Sharon Bezaly. When does she take a breath? … Bezaly is a virtuoso. The Times, 1 December 2006 In Rodrigo’s enchanting Concierto pastoral Bezaly surpasses even the playing of its dedicatee, James Galway, and dispatches Borne’s over-the-top Carmen Fantasy with dazzling aplomb Classic FM Magazine, November 2006 Quant à la jeune flûtiste israélienne, même sur une flûte en or (!), elle offre de Mozart une approche idéale de simplicité, d'aisance et d'esprit. La Libre Belgique, 8 November 2006 Historically the most frequent complaints about flute playing have been of shrillness, breathiness, excessive vibrato and a lack of tonal and dynamic variety. Sharon Bezaly sweeps any such criticisms aside with these vigorous, sensuous and sensitive performances that are spaciously recorded. Her tone is even throughout its range and even at fortissimo maintains a pure stream of sound with never a wobble. BBC Music Magazine, June issue 2006 Anyone who has yet to encounter the playing of the astonishing young flautist Sharon Bezaly should do do without delay. She makes a sensational sound, can play anything from Bach to contemporary, and mastered the art of circular breathing, making quick inhalations in the middle of long phrases a thing of the past. Classic FM Magazine, May 2006 Bezaly, with her light, airy, almost vibrato-free tone, played with impressive skill and commitment Friday night at Orchestra Hall, and Vänskä (who said during his brief lively onstage chat with the flutist, that he had met Aho's dog, Emma) served at the podium as her cogent partner. Star Tribune, 22 May 2006 Primal grandeur drives the half-tartar, half-Russian Sofia Gubaidulina’s Flute Concerto, a half-hour, single-movement work. It begins and ends in the thunder of timpani, the orchestra entering like a prehistoric beast, slow, low and roaring. Bezaly arrives on a bass flute with hollow, haunting tone rising mysteriously from the murk. In the quicker middle section, she soars in finials and curlicues towards a breathless spiral descent that resembles a deflating balloon. Her virtuosity and grasp of the mood and moment of the work are remarkable. The Times, 13 May 2006 The Deceitful Face is essentially meditative, the music swinging cyclically between sound and silence. Bezaly plays it phenomenally ... The Guardian, Friday May 5, 2006 As usual Sharon Bezaly unfolds here her amazing playing, abounding in timbre and personal inventions. The first movement of the Sonata op. 94 of Prokofiev shows it straight away. Its theme contains a small acceleration, which the flutist transforms into a dazzling charade. Certain characterized passages – small staccato ones in the low register (which she plays without any vibrato), large return legatos from the low to the high register, with a detached climax there – are each time the occasion to invent a so personal gesture, so perceived and virtuoso that what one hears is not a flute anymore. Like all really great interpreters, Sharon Bezaly succeeds in this technique, which precisely makes it possible "to transcend the instrument", giving the illusion to invent a timbre. … Meanwhile, a rare thing, she becomes one of the best current ambassadresses of the atonal languages, unfolding the music with her staggering personality, always maintaining a humane quality. Mozart is said to have disliked the flute. Certainly, Bezaly would answer, the flute is the instrument of the 20th century. Le Monde de la Musique, May 2006 The breath control and tonguing technique on display is like none that I've ever heard before and would be exciting in itself but this is allied to a very musical mind that makes a complete player. www.sa-cd.net, April 2006 Sharon Bezaly obviously adores this music, and her time as principal flautist in Camerata Academica Salzburg must have helped mould her into this graceful Mozartean, with limpid tone, an impish sense of humour, and sometimes staggering breath control. BBC Radio 3, CD Review, 18 March 2006 Sharon Bezaly, född i Israel, men numera svensk medborgare och bosatt i Sverige, gjorde intryck med sitt känsliga flöjtspel i de dröjande, drömska yttersatserna (Rouse Flute Concerto). Den varma guldflöjtstonen skärptes till i den hårdare Alla marcia-satsen. Ett kvinnligt – kroppsligt och själsligt – deltagande med poetisk livlighet i musicerandet. Svenska Dagbladet, 11 March 2006 This is the most technically assured, breath-takingly brilliant flute-playing around. Fanfare, January / February 2006 One gets an impression of a soloist without technical limits. Sharon's light touch could easily turn over into suger sweet, even with her viruosity. But this is not what happens... It is beautiful, interesting and unexpected. Opus, December 2005 ...Tra questi troviamo il Concerto in Sol maggiore K.313, compreso in questo CD in cui la flautista Sharon Bezaly, suonando uno strumento moderno di prim’ordino, unisce dolcezza, musicalità e inventive … La Bezaly sembra fraseggiare senza quasi mai prender fiato, emulando così la tecnica dell’arco nel mantenere la continuità della linea. Musica, December 2005 Impressionnante discographie que celle de la jeune flutiste Sharon Bezaly! Impressionannante aussi, sa générosité, son intéret pour les compositeurs comtemporains qui, nombreux, lui dédient une oeurvre … La virtuosité que Bezaly y déploie ne semble plus le “problème” ici, surtour sur un instrument pour lequel la haute technicité semble naturelle à tant d’instrumentistes. Cest donc le son qui départage. Ce gros son viril “á la francaise” (Rampal, Debost, Pahud), Bezaly l’a acquis, mais au-delà, elle déploie une infinie tendresse dans tant de passages … Le Monde de la Musique, December 2005 C'est un tour de force: trois premières mondiales au disque; trois compositions dédiées à la soliste qui les joue; trois oeuvres de trois pays nordiques différents interprétées par des orchestres éminents de ces pays; trois réussites ... Partout Sharon Bezaly fait merveille avec, en premier lieu, un sens de la finesse et du son juste, mais aussi une virtuosité éblouissante (Lindberg!). Voici la musique de notre temps dans son acceptation la plus noble: celle qui créer non pour s'auto-justifier d'encaisser des subsides publics, mais en pensant aux musiciens et aux auditeurs sans se moquer de leur intelligence. Classics Today France, December 2005 “Sharon Bezaly is God’s gift to the flute. She doesn’t appear to pause at all, and the range of tone colours applied would impress van Gogh. In Mozart’s two flute concertos ... she flies high and silver-bright with a panache and dexterity that few can match in these charming jewels. .. Bezaly is definitely a Good Thing!" The Times, 7 October 2005 "Bezaly's exquisite, technically immaculate, compelling playing sets new standards in this repertoire, as do Kalevi Aho's stunning cadenzas, composed especially for this recording. …her spellbinding artistry and that budget price tag currently sweep the board." BBC Music Magazine, November 2005 “Dubbed in France ?the Paganini of the flute’, likened to David Oistrakh and Vladimir Horowitz for her flair and virtuosity, Israeli flautist Sharon Bezaly follows her stunning disc of contemporary Nordic concertos with delectable performances of the familiar Mozart concertos … To both concertos, plus the two separate movements, Bezaly brings pure, delicately coloured tone – beautiful throughout its range – phenomenal agility and breath control, and an impish sense of fun. Gramophone, November 2005 “Israeli-born flutist Sharon Bezaly’s BIS discography has drawn rave reviews in recent years, most recently for her strikingly programmed Nordic Spell album. She stamps her elegant interpretive mark on Mozart’s popular flute concertos for her latest release, without force of mannerism. Finnish composer Kalevi Aho’s sensitive cadenzas add to the attractiveness of Bezaly’s work.” Music Week, 8 October 2005 "Mozart to perfection from prodigious young flautist" The Observer, 9 October 2005 “Sharon Bezaly’s tone is limpid and beautifully focused, her breath control and agility dazzling. Partnered by the spruce Ostrobothnian Chamber Orchestra, she brings grace and playfulness to the allegros, and catches perfectly the delicate sensuality of the slow movements.“ The Daily Telegraph, 29 October 2005 “Brisk tempos, crisply articulate strings ... dynamic star soloist, an attractive programme – this disc of Mozart’s two flute concertos supplemented by the poignant single-movement Andante in C and the spurious Rondo in D has everything going for it.“ Classic FM Magazine, November 2005 “Amongst younger flautists Sharon Bezaly is in a league of her own. She combines a light virtuosity with a deep musicality and her pleasant tone is on the whole beautifully clear. On this recording three Nordic flute concertos have been brought together, all of them dedicated to Bezaly.“ Svenska Dagbladet, 1 June 2005 "Sharon Bezaly’s ? A to Z’ series for BIS strikes me as one of the most important and revelatory contemporary music series ever undertaken on disc. All of this would have counted for nothing if it hadn’t been for Bezaly’s mesmerizing artistry, which has virtually redifined what most of us consider the flute capable of." "Her astonishing technical command facilitated by seamless circular breathing, is a source of wonder in itself, but most compelling of all is the way she manages to make everything she plays sound so special and utterly convincing … An exemplary release thet deserves the widest possible circulation." International Record Review, July/August 2005 Recording of the month "Let me start with my final paragraph. Wonderful stuff. BIS has been on a winner with Sharon Bezaly for some time now but this is surely the most splendid so far in the series, playing three works inspired by and dedicated to her. Nordic is certainly geographically accurate and the Spell will soon weave its magic as you listen to these three very different works, all recorded with three different orchestras under three diffrent conductors (of whom one is Lindberg). Aho’s Concerto is the longest – three-movement work of frequently ravishing beauty. Tómasson’s 2001 Concerto for flute, his second, is written in five movements, each of them characterised with exceptional skill and attractiveness. Lindberg conjures up butterfly acrobatics for his soloist and colours his writing with iridecence allied to intoxicating rhythm. Bezaly plays the works she has inspired, wether on flute or alt flute, with immense authority and sensivity and BIS’s recording set-up captures balances perfectly, in much the same way as their notes set the scenes so well. I’ll end as I began – wonderful stuff." www.musicweb.com – 22 August 2005 "What a phenomenal technique flautist Sharon Bezaly has! In these three very different works she demonstrates a colossal range and diversity of styles." Gramophone Editor’s Choice, Awards Issue 2005 “Breathtaking“ first accounts of works written specially for Sharon Bezaly .. The accompanying booklet to this splendid new disc contains testimonials to Sharon Bezaly's playing from the three Nordic composers featured. The phrases they use suggest something more than the average commendation from authors thankful for the attention. Kalevi Aho – hardly a neglected figure – writes of her "incredible technique..musicality and great mental flexibility," Haukur Tómasson of her "scintillating agility" and Lindberg who as a phenomenal trombonist clearly recognises a kindred spirit, of her '"vitality, liveliness and charisma" as well as her "stunning virtuosity". I quote these because they are as succinct a set of descriptions of Bezaly's musicianship and performances as I could provide. Quite simply her technique is extraordinary. All three concertos, while each following very diverse expressive paths, are imbued with a fantastical and luminous quality that surely derives from the player." Gramophone, Awards Issue, 2005 “Bezaly, an Israeli flute virtuoso, has a way of inspiring her chosen composers to write good music. All three concertos on this disc are new. Kalevi Aho has responded with an atmospheric Nordic meditation that exploits the flute’s charisma as much as Bezaly’s agility. Haukur Tómasson’s piece is more intricate and also more elusive, like a musical butterfly. Christian Lindberg has a more programmatic scheme, his concerto is an old-fashioned fairy tale, its innocence cleverly preserved. All three make a valuable addition to the flute repertoire.“ Financial Times, 6 August 2005 "The fabulous musicianship of flautist Sharon Bezaly is the inspiration for a growing number of composers, and the three here demonstrate the freshness of Nordic music in recent years" classicalsource.com – August 2005 "Wonderful stuff. BIS has been on a winner with Sharon Bezaly for some time now but this is surely the most splendid so far"... musicweb International – September 2005 “The Aho in particular would make a splendid calling card for any enterprising flutist, and we can only hope that Bezaly receives many invitations to perform it abroad. It's that good, and so is she". Classics Today.com – September 2005 “Sharon Bezaly’s virtuosity and commitment are fabulous and the sound is beautifully balanced and vivid.” Muso , August 2005 "The flute may never overtake the violin in the concerto stakes, but these three new works on Nordic Spell, commissioned by brilliant virtuoso Sharon Bezaly, increase the repertoire." Metro, August 2005 „Nordic Spell ist eine CD, auf der Sharon Bezaly mit ihrer beeindruckenden musikalischen Leistung für sie geschriebene Musik dreier Komponisten wirklich verkörpet, Musik, die zwar technische Raffinesse verlangt, die aber vor allem von Bezalys unvergleichlicher Inspiration zum musikalische Ausdruck und zu stark emotionaten Gefühlen zeugt. Nordic Spell ist kein Produkt das man konsumiert und vergisst. Nordic Spell braucht keinen Haltbarkeitsfrist, es ist Musik für die Ewigkeit." Pizzicato, October 2005 „Die Flötistin Sharon Bezaly, in Schweden beheimater, hat sich in den letzen Jahren ganz an die Spitze ihrer Zunft gespeilt. Bezalys Herz gehört der zeitgenössischen Musik... einige hochinteressante konzertante Werke für Flöte entstanden auf ihre Initiative … Interpretatorisch jedoch bleiben in keinem der Konzerte irgendwelche Wünsche offen. Dies ist die interessanteste Flöten CD seit langen." Applaus, October 2005 "... a beguiling, beautiful piece written by a composer at the peak of her prowess, directed by a conductor at the top of his game and played by a flautist like no other." The Herald, 28 October 2005 “... la più grande flautista della sua generazione” Musica "She plays like a goddess, notes flying at the speed of light. Her repertoire is ample and bold, and there is almost no piece for her instrument that she has not tackled yet. Fellow musicians and critics rave at her gifts, composers are delighted to write for her. A new and exciting violinist? Russia’s next piano prodigy? No, we are talking about Sharon Bezaly, flûtiste extraordinaire“ Fanfare "I am insanely jealous of this incredible talent" American Record Guide "Sharon Bezaly's 'A to Z' series for BIS strikes me as one of the most important and revelatory contemporary music series ever undertaken on disc." International Record Review "... her mesmerising artistry has virtually redefined what most of us consider the flute capable of....An exemplary release that deserves the widest possible circulation. International Record Review "it is impossible to imagine this beguiling performance ever being bettered" International Record Review “Sharon Bezaly, a prodigy who soloed with the Israel Philharmonic and Zubin Mehta at the age of fourteeen, is an amazing player with a devilish technique and warm sound.“ American Record Guide "...dans l'interprétation bien entendu exceptionnelle de Bezaly,qui, tel un Paganini de la flûte, semble tout simplement étendre les possibilités de l'instrument." Monde de la Musique “Sharon Bezaly flutist stupifiend, oiseau encipiré au-delà de toute mesure“ Monde de la Musique “Connaissez-vous Sharon Bezaly? C´est la simplicité faite musique, grave, comme une âme en peine et puis soudain légères comme un ange ... „ Monde de la Musique "Chaque fois que je mets un CD de Sharon Bezaly dans mon lecteur, je frémis: je sais d'avance que l'écoute en sera excitante. Son nom est synonyme de promesse...“ Pizzicato "Wäre die Flöte eben keine Flöte, sondern als Soloinstrument so populär wie Klavier oder Geige, man könnte ihr eine Horowitz – oder Oistrach – Karriere prophezeien... Verzaubernd: Sharon Bezaly" Frankfurter Allgemeine Zeitung “Die Wiederholungstaste ist gelengentlich das Wichtigiste am CD-Spieler. Gleich zweimal hinter einender habe ich sie gedrückt bei der Sarabande aus J.S.Bachs a-Moll Partita. Wie Zart die Töne ausschwingen, wie subtil die Höhepunkte vorbereitet und wie Geschmackvoll sie ausgekostet werden! Das Hohelied der Reinheit wird hier geblasen – von Sharon Bezaly.“ Fono Forum “In der Tat wohnt in ihrem Ton etwas Unergründliches, Mystisches inne. Gleich mit dem ersten Stück, Kalevi Ahos Solo III, Zieht Bezaly den Hörer unwiderruflich in ihrern Bann. Von der Phänomenalen Finger– und Zungentechnik einmal abgesehen, begeistert Ihr Spiel durch geschmackvollen Vibrato-Einsatz und die vielfarbige Platte Ihrer Tongebung.“ Klassik Heute "Volume 3 of Sharon Bezaly's trail blazing 'A to Z' solo flute series focuses on the letter 'D', It also confirms Bezaly as one of the most sublimely gifted of flautists. In the wrong hands the sound of the flute can pall all too easily, but here Bezaly produces such a ravishing flow of velvet lined sonics, immaculately phrased (she has completely mastered the art of circular breathing) and intonationally spotless, that one is held spellbound simply by the sound that she makes.“ International Record Review “Anyone who has yet to encounter the playing of the astonishing young flautist Sharon Bezaly should do so without delay.“ International Record Review "Finally to Debussy’s "Syrinx", that magnificent little piece full of sensuous promise that I’ve never heard played so convincingly". Classical Music Web "Never has Syrinx weaved its spell so potently as here – every subtle dynamic inflexion, every tiny gesture is magically timed and executed. The curious sensation that Bezaly is the enchanted vessel through which these various pieces are merely passing is further enhanced by French Classicist Francois Devienne's G Major Sonata" International Record Review "Bland yngre Flöjtister är Sharon Bezaly praktiskt taget i särklass" Svenska Dagbladet