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PRESS%&ALA&VORONKOVA& 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