Press Acclaim

Selected excerpts

". . .[A] brilliant soloist. . ." -Anthony Tommasini, The New York Times

"[It was] an eclectic program, which made it possible to gauge the interpreter's excellent technical mastery. . .One very seldom hears this very beautiful piece by Elliott Carter [Rhapsodic Musings] and Emilie-Anne Gendron knew how to make poetry out of it. . .What is striking in this young violinist is the remarkable security of her bow arm. . .the right hand is never mislaid and allows her to maintain a sensual sound from pianissimo to fortissimo." -Carlos Tinoco, ClassiqueInfo, translated from the French [Review of recital at the Louvre]

"Robust and brilliant playing. . ." -Véronique Ribordy, Le Nouvelliste (Switzerland), translated from the French

"The rugged temperament of Autumn [in Piazzolla's Four Seasons] found, in Emilie-Anne Gendron, a purveyor of a warm sound that glowed with gorgeous color." –Bertrand Bolognesi, Anaclase, translated from the French

"Outstanding. . .A poised soloist. . .In the second movement Scherzo [of Shostakovich's Violin Concerto No. 1], a fiendishly difficult work with multi-layered counterpoint and rapid syncopation, Gendron was as accurate as clockwork. In the intensely lyrical third movement Passacaglia, she was as smooth as silk, weaving the beautiful melodies over the exotic, repeating bass. Bridging the Passacaglia to the final movement, Burlesque, is an extended cadenza that served to highlight Gendron’s lyrical prowess as well as her remarkable facility. In the finale she showed the potential of her power. . ." -Matt Steel, The Kalamazoo Gazette

“The other performers on Sunday included [Joel] Sachs on piano, the cellist Elizabeth Lara and the violinist Emilie-Anne Gendron, who all played with conviction.” –Vivien Schweitzer, The New York Times [Review of MoMA Summergarden concert devoted to chamber work world premieres]

“[The Four Seasons of Buenos Aires] made a delightful start to the programme, each Piazzolla Tango Concerto being brilliantly played by four separate Sejong soloists, Frank Huang, Ji In Yang, Emilie-Anne Gendron and Yura Lee.” –Robert Matthew-Walker, Musical Opinion (London) [Review of performance with Sejong at Cadogan Hall]

“. . .A fine musician. . ." -Arthur Kaptainis, The Montreal Gazette

Press acclaim with Sejong Soloists (Member 2005-present)

"Gil Shaham and the Sejong Soloists--a handpicked ensemble of young musicians--present a driving performance [of the Mendelssohn Octet]. . .There are some breahtaking pianissimos and beguiling touches of portamento in what is a most likeable performance, building cumulatively to a chattering contrapuntal finale that demonstrates these players' admirable abilities individually and in ensemble." -David Threasher, Gramophone

"If this movement [of the Mendelssohn Octet] demands a high level of virtuosity at the tempo Shaham has chosen, he and the Sejong Soloists display it in ample measure, at times recalling the excitement I experienced upon first hearing the work. The pace never slackens, and the energy never abates. But it’s not all forward thrust, and quieter moments in the central section serve as a poignant—-or at least reflective—-contrast...Urgently recommended" -Robert Maxham, Fanfare Magazine

“The New York-based chamber ensemble [is] filled with top-notch young performers. . .The boldness in attack, strength of accent and tightness in ensemble turned out to be welcome fixtures of the group's playing throughout." –Daniel Ginsberg, The Washington Post

"A remarkable programme. . .On this showing, Sejong is, simply, a chamber orchestra of world class." –Robert Matthew-Walker, Musical Opinion (London)

"In the second half of the concert, [Gil] Shaham was joined by seven of the Sejong musicians for Felix Mendelssohn’s charming and cosmic Octet in E-flat Major, Op. 20. This is one of the crown jewels of the chamber music repertoire, and few will have heard it played any better than it was on this occasion. The majestic sweep of the augmented quartet form was given full rein without any diminution in tone or execution. The sound was lush without a trace of buzz, and open and airy without ever becoming wispy or faint. The ultimate triumph of this concert was in the great blending achieved by the ensemble and the soloist, two powerful forces in the service of a higher cause." -Charles Donelan, The Santa Barbara Independent

“A remarkable group. . .They are audience favorites. It is easy to understand why. Even with 15 or 20 musicians on stage, they play in preternatural synch.” –Harvey Steiman, Musicweb-international

 “The best moment of the evening with Sejong came after the intermission with the Serenade in C by Tchaikovsky. The first movement was lavished with an overall richness, while second movement’s Valse concluded most elegantly. In the Elegy [Sejong] maintained beautiful balance, illuminating nuances everywhere with subtle precision, which later made the profound, half-tone opening of the Finale all the more magnificent.” –Bertrand Bolognesi, Anaclase, translated from the French