Acclaim - page 3
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Berick is an imposing figure on stage, tall and robust, but his playing can be delicate when called for. His passage work in the massive 25-minute opening movement of the Beethoven (concerto) was graceful, articulating the multiple trills and making the difficult cadenzas seem easy. He is not a showman, preferring to let the music flow through him and into the violin. This was most in evidence in the rapturous second movement, surely one of the most affecting in classical music. The third movement displayed just how impressive an instrument the orchestra can be in full flight. Easily keeping pace with Berick, the orchestra delivered every nuance in the finale, and both soloist and orchestra got a well-deserved three curtain calls. - The Windsor Star |
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Yehonatan Berick gave this late example of Mozart work, written in the last year of his life, a glistening, most highly charged performance. With his gleaming tone and able technique, Berick, an Israeli-born violinist, led the group through the work’s varied moods with brio and poise.
- Seattle Post Intelligencer |
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Berick played three miniatures popularized by Heifetz, and brought them all to life. Leaning into notes and toying affectionately with rhythms, he seems to have drawn more influence from Itzhak Perlman. Berick’s sweet and nuanced style was much appreciated in Schubert’s Piano Trio.
- Montreal Gazette |
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The pleasure of playing together was evident in everyone. It was especially enjoyable to hear - and see - the extraordinary playing of violinist Yehonatan Berick, a musician in the most comprehensive sense of the word.
- Le Soleil |
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Hanani and Tocco were joined by Yehonatan Berick, an exceptionally fine violinist. His unusually sweet tone often tugged at the heart, yet was able to give full voice, without harshness, to the spikier moments. Berick also proved worthy of the five songs from “Porgy and Bess". His playing was physically animated.
- Berkshire Eagle |
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Yehonatan Berick and Martin Roscoe joined forces to produce a masterly account of Elgar’s Sonata. It was, in a real sense, a revelatory performance that reached the emotional heart of the work. Berick brought passion and commitment to the violin part and was matched by Roscoe with piano playing of the utmost subtly and tonal colour - not a nuance of shading or expression was missed.
- Leceister Mercury |
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Israeli Berick and Italian Lysy presented us a Brahms the likes of which I have not even heard from Montreal Symphony. There was neither schmalz nor bel canto, but a unified style, sober rigorous, and above all very expressive, in effect such an intense common thought that the instruments seemed an extension of each other. And, here as well, what intonation: exemplary.
- La Presse |