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Biography
In ever-increasing demand for his astonishingly mature interpretations of some of the most difficult works in the violin repertoire, Valeriy Sokolov’s 2010/11 season includes debuts with the Philharmonia Orchestra, the London Philharmonic Orchestra, the Royal Stockholm Philharmonic Orchestra and the China National Symphony Orchestra (for the New Year’s Concerts at the NCPA Beijing). He also makes return visits to the Tonhalle-Orchester Zürich, Orchestre National de France, the Hallé, the Orchestre Philharmonique de Liege and the Orchestra of Opera North; and gives recitals at the Verbier, Al Bustan and Menuhin (Gstaad) Festivals, as well as at the Essen Philharmonie and the Teatro Olimpico in Rome.
His first concerto recording for EMI (concertos by Bartok and Tchaikovsky with David Zinman and the Tonhalle-Orchester Zürich) is due for release in March 2011. He can already be heard in Enescu’s Third Sonata (also on EMI with pianist Svetlana Kosenko) and in a DVD of the Sibelius Concerto with the Chamber Orchestra of Europe under Vladimir Ashkenazy (on Idéale Audience). Bruno Monsaingeon’s film “un violon dans l’âme / Natural Born Fiddler”, a record of Valeriy’s recital in Toulouse in 2004, received much praise from the critics and continues to be frequently broadcast on ARTE TV.
Reviews
“The breathtaking violinist Valeriy Sokolov presented the Brahms Violin Concerto with dialogues between the soloist and the orchestra of rare intensity. The young prodigy Sokolov makes his strings vibrate and cry and transcends a virtuoso work combing passages of heart-wrnching melancholy with moments of unbridled celebration.” (Ouest France, April 2009)
“The Third Violin Sonata, rooted in Romanian folk music yet pushing both players to extremes in a quest for expressive subtleties, is one of Enescu's greatest scores. It gets a powerhouse performance from stars-in-the-making Valeriy Sokolov and Svetlana Kosenko.” (The Guardian, March 2009)
“Valeriy Sokolov does allow himself a degree of freedom, as the composer had done in his recording, yet it takes him right to the heart of the score. His playing is technically immaculate, but it has passion and is as earthy as that of any folk fiddler.” (The Strad, March 2009)







