Download PRESS - Ala Voronkova - ENGLISH

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What the critics say
A virtuoso on the violin
The programme that was offered to us on Saturday was hard and difficult. However, there was
a standing ovation at the end of the long Concierto for violin and orchestra by Shostakovich. Ala
Voronkova took the Russian composer's music to its limit, with an almost impossible equilibrium.
Voronkova accepted the challenge which the interpretation of this concierto poses and reached
high levels of virtuosity, giving perfect balance to the high notes and intensity to the passages
that required it.
Ricard Ribera, Diari de Terrassa, 21/2/06
Late Wagnerian Curiosities
A delicious violin solo brought to us by Ala Voronkova, who played us an instrumental version of
the song Träume from the Wesendonck Lieder cycle (Wagner).
Roger Alier, La Vanguardia, 2nd February 2005
Blazing fire
Alla Voronkova seduced the audience in the most irresistible way. I felt like a captive of an
instrumentalist who gave herself up body and soul to the interpretation, through a violin
technique born from the most secret, hidden roots which flowered in front of us spectacularly.
The fire and force with which she imbued her playing were the fruits of a practically impeccable
technique and of her strong personality. With her magnificent 16th century violin, her beautiful
and powerful sound embraced a cavernous and powerful register, from low notes to high notes
without any sharpness, which allowed her to shine without the least aggression. Her firm and
powerful attack, as well as her capacity for legato, vibrato, her conviction and strength reminded
us at all times of the magnificent Russian school in which she was trained. The Dance from A
Brief Life by Falla, in this case the version by Kreisler, offered a constant stream of technical
and musical difficulties that were resolved in this magnificent performance of feline speed and
almost insulting facility.
Voronkova's bow delineated imagination and fantasy. She is also master of lyricism, and has
extremely good taste for dynamics – what Tchaikowskian beauty and intensity! And her fiery
interpretation displayed another character: her lyric capacity and sound quality are exquisitely
melodic and showed us the maturity of this violinist. In conclusion, this was a concert performed
by two excellent musicians who managed to delight the audience, making their recital the best
concert of the season and one of those that leaves the audience wanting more.
Santi Riu, La Segarra, Lleida, May 2004
Two virtuosos
This exceptional Ucranian artist continuously astounded us throughout her recital with the
beauty of her sound: dense and profound in the lower register, warm and with an exact vibrato
in the middle range and a magnificent and clear virtuosity in the high notes. In the wonderful
Sonata by Prokofiev, where both (Ala and Guerassim Voronkov) matched and answered each
other. The sound, tuning and deep and confident knowledge of style led to an extremely high
level of interpretation. As an encore they played an Etude – Caprice by Wieniawski. The cheers
resounded around the vaults of the Convent for a good long time and are echoed in this review.
Pedro A. Echarte. Última hora, Ibiza, 14th June 2004
Concert of dreams
After the Overture came, aided by the Philharmonischen Orchester, the Concierto by Brahms,
interepreted by the Ucranian violinist Alla Voronkova, whose interpretation received a standing
ovation. All the technical difficulties of the violin solos were resoved with an enviable facility.
WZ Düsseldorf, 16th November 2004
Russian school of violin
The beauty and intense warmth of Alla Voronkova's sound captivated me completely. What's
more, the balanced harmonies which this duo played were impeccable. I conclude with my
appreciation for Paganini's Caprices which Alla Voronkova played solo. To say that they were
the exquisite cherry on top of a stupendous recital doesn't seem enough! The artist proved
herself to be an exceptional representative of the Russian school of violin in these pieces of
unparalleled virtuosity, a virtuoso of a very high level who we hope to have the opportunity to
hear again in the future. Bravo! Bravissimo!
Pedro A. Echarte. Última hora, Ibiza, 22nd June 2003
The magic language of the violin
Ala Voronkova conquered her audience with her great mastery and with an exquisite
interpretation of the most complex works. At times it seemed that in her hands the violin knew
no limits. All aspects of interpretation are under her control.
Ukrainska Cultura, edición español, August 2002
Ala Voronkova's Slavic passion
Ala Voronkova's interpretation of Vivaldi's conciertos should be enough to contradict the
argument that musicians from Eastern Europe have great technique but are cold. The Ucranian
violinist, who lives in Catalonia, put all her passion into the well known movements of Autumn
and Summer. The chamber orchestra accompanying the soloist gave the two pieces a light, airy
tempo which infected the audience with their enthusiasm.
Jordi Vilarroda, El 9 nou, Sabadell, 25th August 2001
Satisfaction
The violin, in Ala Voronkova's hands, filled the entire hall. The violinist performed with her
characteristic virtuosity. Not only does she play with rapidity but she also uses a wide range of
sounds and effects, some with the sound of two voices, others with an expressive pianissimo
and, especially, the highest notes that you can play on the instrument. The Lullaby by the same
composer was also very enjoyable. If, as they say, the human voice is the most complete
instrument, Ala Voronkova's violin is in no way behind.
Josep Porter, Avui, Barcelona, 25th October 2000
Poem by Montsalvatge
Montsalvatge's poem for violin and orchestra displayed the great level and virtuosity of the
violinist Alla Voronkova, who performed some truly great solos and who transformed herself
imaginatively into a rhapsody that recited the words of the poem musically.
Esther Minguell, El 9 nou, Sabadell, 10th October 2000
The OSV travels
In fact it is no coincidence that the entire works for violin and piano can be found among Ala
Voronkova's recordings. I still remember the congratulations which the composer heaped onto
the violinist in the Winthertur Auditorium at the end of the performance. I don't know if it was for
Tchaikowsky's Concierto for violin and orchestra or for a series of virtuostic waltzes and polkas.
The understanding between the two musicians is evident.
Jordi Roig, Avui, Barcelona, 4th October 2000
Meeting place
Ala Voronkova was the lead violinist and soloist for the pieces by Schubert and Sarasate. Very
confident, rounded and convincing, she gave variety to a programme which could have been
routine.
Luis Polanco, El Periódico de Catalunya, Barcelona, 24th January 2000
Paul Joun's works
The long flowing cantabile lines in the first movement of Paul Juon's A major Sonata are
elegantly played, Voronkova's intonation is flawless even when the music is in the upper
regions of the instrument. She also spins the most beautiful pianissimo passages in the
extensive theme and variations of the second movement. All three sonatas make considerable
demands on the pianist, and Evelyne Dubourg's nimble and perfectly weighted contribution is
ideal. She brings a wonderfully capricious nature to the finale of the Second Sonata, and the
requisite dramatic impact to the B minor Sonata. Voronkova's round and opulent tonal quality is
ideal for the almost erotic romanticism at the opening of the Third Sonata, and she produces a
remarkable spectrum of quiet tonal colours in the central section.
David Denton, The Strad, Londres, May 1998