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Veronika Eberle

  • Violinist

Reviews

Veronika Eberle press reviews

‘Eberle was a commanding stage presence even in quiet passages—the true test of a star performer. Her full, golden tone became gritty when called for, and her vibrato expanded and contracted appropriately to the season. In “Spring,” the interplay between Eberle and concertmaster Martin Chalifour became a Messiaen-like celebration of birdsong. The ensemble, especially vivid in “Summer,” conveyed inner and outer weather, with the delicacy of Eberle’s performance contrasting memorably with her virtuosic intensity.’
LA Times, 19 December 2009
Vivaldi Four Seasons / Los Angeles Philharmonic / Harry Bicket / 18 December 2009

'Concerts like this are among the highlights even a professional music critic is rarely privileged to enjoy. […] The way she presented Beethoven’s last violin sonata as an intimate and spontaneous dialogue with Oliver Schnyder, which was both full of esprit and profundity; the rhythmic virtuosity with which she tackled Schubert’s tricky B minor rondo brilliant without failing to do wonderful justice to the surprising harmonic turns, embedded cantabile passages and melancholic mood changes; the explosive verve with which she attacked Janacek’s sonata revealing its existential commitment; the intoxicating joy with which she celebrated youthful Richard Strauss’s sonata as an orgy of sensual violin sounds — all of this made it an evening to remember. […] Her tone is warm, invariably lucid and resonant, and she possesses an admirable ability to adapt it to the character and style of the composition, which enabled her to realize the emotional stylistic demands made by Schubert and Janacek with equal perfection. She is also an embodiment of the idea that performing chamber music is a “concerted” art, a philosophy she shares with her Swiss accompanist.'
Süddeutsche Zeitung, 23 February 2009
Recital / Herkulessaal, Munich / 18 February 2009

'Ms. Eberle’s introverted intensity and interpretive boldness made an immediate impression. Where her partner, the pianist Oliver Schnyder, was amiable and gregarious in Beethoven’s Violin Sonata in G (Op. 96), Ms. Eberle was sweet and demure. Her phrases trailed off into distracted murmurs in the Adagio, lending the music an affectingly poignant ache. [...] In Janacek’s Violin Sonata […] Ms. Eberle and Mr. Schnyder brought out a bustle, bite and anxiety that rang true to its World War I-era gestation. [...] The program ended with the youthful grandiosity of Richard Strauss’s Violin Sonata in E flat. Mr Schnyder greatly impressed in darker, more obsessive passages; Ms. Eberle countered with heroic lines that billowed like banners unfurled from a castle parapet.'
The New York Times, 16 February 2009
Recital / Carnegie Hall / 13 February 2009

'In the final of the Auckland Philharmonia’s Beethoven series the audience were treated to two magnificent performances with the Beethoven Violin Concerto and the majestic Fifth Symphony.
Veronika Eberle the twenty year old German violinist who plays with a tremendous technical ability was flawless even when playing high register notes, softly or vigorously there was a perfection to the sound which never wavered.
She gave an electrifying performance providing some intense emotional moments as well as giving the work a real sense of drama.
She played with a deliberate personal fixation ignoring the orchestra and the audience with the conductor seeming to be superfluous. She responded to the orchestra and they in turn responded to her as though she were the source of their inspiration.
Then at times she appeared to enter a new realm, as though in a trance taking the music to new heights speaking of dreams and aspirations.
What audience heard was not so much a concerto but a spiritual experience and the they recognised that with a thunderous ovation.'
The National Business Review, 21 July 2008
Beethoven Concerto, Auckland Philharmonia, 7 August 2008

  

KRITIKEN AUF DEUTSCH

'Konzerte wie dieser Sonatenabend im Herkulessaal mit der 20-jährigen Geigerin Veronika Eberle und ihrem vorzüglichen Klavierpartner Oliver Schnyder gehören zu jenen Erfahrungen, die auch einem professionellen Konzertgänger nur selten geschehen. [...] Wie sie Beethovens letzte Violinsonate mit Oliver Schnyder in ein intimes, improvisatorisches so witziges wie tiefgründiges Gespräch gleichgesinnter Geister verwandelte, wie sie für Schuberts vertracktes Rondo brillant h-Moll virtuos mit rhythmischen Biss zupackte und doch den harmonischen Überraschungen, plötzlichen Cantabile-Inseln und Melancholien wundersam gerecht wurde, wie sie Janáceks Sonate explosiv und mit herber Attacke als existentielle Bekenntnismusik verwirklichte und die Sonate des jungen Richard Strauss als Fest rauschhafter Geigensinnlichkeit feierte — es war ein Erlebnis. [...] Sie vermag ihren Ton, den zuallererst Wärme und in allen Registern Leuchtkraft und Tragfähigkeit auszeichnen, bewunderungswürdig dem Charakter und Stil der jeweiligen Musik anzupassen und so Haltung und Gebärde von Schuberts Rondo oder Janáceks Sonate ganz zu erfüllen. Und sie ist dabei vom Geist kammermusikalischen Miteinanders inspiriert, was auch auf den jungen Schweizer Oliver Schnyder zutrifft.'
Süddeutsche Zeitung, 23 February 2009

'Unglaublich, wie die junge Geigerin von einem Moment auf den anderen die Stimmung wechseln und diese sogar noch intensivieren kann.'
Pamina Klassik Magazin, February 2008