Leila Josefowicz

“Leila Josefowicz delivered a wide-screen, 3D interpretation, the colours as bright and vivid as any paint chart but more enticing. Her violin sound is sweet and full, her trills like a blackbird's, yet she also managed a dizzying grace in the wild Scherzo, and a dancing slinkiness in the final movement.” (Evening Standard, April 2011)

“Josefowicz was the most exemplary of soloists. She had memorised the extremely taxing part and projected it with a passion. Not a bar of hers was not imprinted with her personality and thought.” (The Sunday Times, October 2009)

“Ms Josefowicz gave a thrilling performance of this daunting work, playing with gleaming sound, supple technique and, amazingly, from memory.” (New York Times, April 2009)

“Leila Josefowicz’s interpretation of the solo part was totally captivating. The lyrical shining of the violin and the musically intelligent rendering paved the listener a way to any interpretation.” (Hufvudstadsbladet, January 2009)

“Josefowicz shimmied and gave the orchestra sass. The writing here is extraordinarily difficult, and she was on fire.” (Los Angeles Times, April 2009)

“This is mainstream modernism of the most accessible (but never puerile) kind - a cannily crafted showpiece that glories in the advocacy of a superb fiddle player such as Josefowicz… She dispatched the score with a virtuosic command and expressive urgency that made it sound as second nature to her as the Brahms or Tchaikovsky concertos.” (Chicago Tribune, January 2008)

“[Ms Josefowicz] gave an animated performance, deeply committed to her music and very much in tune with the fine playing from the orchestra.” (Manawatu Standard, July 2007)