Acclaim

From the moment she took the Gusman Hall stage, Yoo displayed impeccable technique, highly personal interpretive instincts and musical maturity far beyond her years...Bringing strength and a heroic edge to the opening theme, Yoo’s affinity for Mendelssohn’s long-spun lyricism was consistently present. Her light bowing and nicely varied dynamics brought elegance as well as passion to this romantic work.

Lawrence Budmen, South Florida Classical Review

The warmly expressive Yoo seemed to seek subtlety wherever she could find it.

Read More...
Rob Hubbard, Pioneer Press

There was a magical moment in the Bruch Violin Concerto No. 1 in G minor, played just before intermission. It came at the start of the slow second movement: a brief pause, a slight intake of breath, the lush opening notes taken so softly as to be barely audible.

Read More...
Michael Anthony, Star Tribune

Yoo's cadenzas were breath-taking. Her melodic playing was soulful. She responded to all the virtuosity that this giant work demands.

Read More...
David Richards, Toronto Concert Reviews

Soulfulness, not showy virtuosity, ran through the long first movement. She became even more delicate in the lovely canzonetta, making you lean forward to hear her thread of sound.

Read More...
Lawrence Toppman, Charlotte Observer

Of the soloists, it was BBC New Generation Artist Esther Yoo who owned the morning

Read More...
Charlotte Gardner, Bachtrack

Then Esther Yoo played the Violin Concerto in D minor op. 47 by Sibelius and the effect was electrifying.

Read More...
Rosemary Westwell, Ely Standard

And the virtuoso fireworks of the finale, which can trip up even the best violinists, caused her no trouble. It was altogether a wonderful performance which thrilled the audience, aware they were witnessing a star in the making

Read More...
Ivan Hewett, The Daily Telegraph

From the beginning of Sibelius’ Violin Concerto, Esther Yoo commanded the stage, towering over Ashkenazy.

Read More...
Nick Boston, Bachtrack

The audience was held spellbound by her performance, particularly in the adagio, where she produced passages to overwhelming effect.

Read More...
John Gilroy, Cambridge News

The manner in which she swept into the first-movement cadenza was masterful. There was also great subtlety of phrasing – especially in the slow movement, and Yoo’s unhurried gentleness at quieter moments in the polonaise-like Finale was impressive.

Read More...
Antony Hodgson, Classical Source

The finale’s vigorous Hungarian dance came off with fizzing energy, before slipping nonchalantly back into the stately minuet to finish the work.

Read More...
Rohan Shotton, Bachtrack

Yoo’s solo passages were bewitching, as she played her cadenza in the middle of the first movement with such a huge and intricate amount of detail if was almost hard to conceive the sounds were coming from just one instrument.

Read More...
Miranda Heggie, The Herald

Esther Yoo at once ensured that the opening solo rang out and there was a wonderful affinity between her and Vladimir Ashkenazy. An important feature of Yoo’s playing is that she listens attentively to the orchestra.

Read More...
Gregor Tassie, Classical Source

She rattled off the pyrotechnics effortlessly: arduous passages in thirds and sixths, rapid repeated down bows, dazzling quasi-guitar effects, and tricky harmonics and left-hand pizzicatos abounded.

Read More...
Claire Seymour, Seen and Heard

There are times when a standing ovation feels like a courtesy…This was not the case on Friday evening when the young violinist Esther Yoo had the audience on its feet. Dazzling technique, empathy and presence. Everything was there.

Read More...
Lars Westin, Arbetarbladet

It is not often I get shivers down my spine, and tears in the corner of my eye, but it felt as if Esther Yoo played on strings in my mind, transforming the music into a pure spiritual matter - a journey into an enchanted garden of memories…The following standing ovation was well deserved after this final performance - one of the pinnacles of this high-quality season.

Read More...
Camilla Dal, Gävle Dagblad

It was a committed, commanding performance, full of passion and vivacity.

Read More...
Peter Collins, Wales Online

Esther Yoo made [the opening of Mozart's Violin Concerto in A major] blossom wondrously with her clear and intensely resonating violin tone and her highly sensitive interpretation. 

Read More...
Siegener Zeitung

The performance of the young American violinist Esther Yoo led [the listener] into the serene, contemplative world of Mozart. [The violinist’s playing was] wonderfully sensitive and highly musical, combined with technical perfection, a secure instinct for the musical period and a great joy in making music. Add to that the beautiful sound of her violin, bright and silvery – the tone slightly grainy, the depths resonating and the highs floating.

Read More...
Peter Tölke, WAZ

Yoo’s performance with the Hallé ... was simply sensational. ... Her performance shone with a brilliance that illuminated the familiar score and mesmerised the audience.

Read More...
Alfred Searls, Northern Soul

Violinist Esther Yoo swept on to the stage at the Bridgewater Hall to give an unforgettable debut performance with the Halle Orchestra on Saturday.

Read More...
Marina Berry, Oldham Evening Chronicle
"In Yoo's hands, [Prokofiev’s second violin concerto] turned into an engagingly fresh work: it was singing lyrically and [was a] beautifully long, shining and pliant cantilena with joyfully playing, sparking rhythms. […]" Read More...
Helsingin Sanomat
Total: 23 (Viewing: 1–23)