Esther Yoo – Press

“[it] quite simply made for an hour of perfection. . . her ability to assert such control over what she produced at every point that made her capable of achieving anything.”

“Yoo is at her most emotionally compelling, imparting a heart-warming radiance to this neglected gem that is utterly captivating.”

“Yoo – who recorded the Sibelius Concerto for Deutsche Grammophon several years ago – has an elegant style, even in the most treacherous virtuosities. The first movement was an introduction to her big, relaxed sound and stunning technique. Her opening phrases had ethereal beauty. The cadenza, an effortless display of arpeggios and runs, was as thrilling as I’ve ever heard.”

“Yoo’s ability to shift seamlessly from lyric sweetness to eye-popping technical brilliance, especially in music high at the top of the instrument’s range, paid dividends here.”

“She was vibrant-toned in Beethoven’s opening Allegro con brio and delicate in the following Adagio cantabile, while maintaining her big sound. In the Scherzo again there was strength, with crisp rhythms, and the final Allegro was urgent and driving.”

“Every once in a while, there is a player whose sound just stops me in my tracks.”

You’ve performed and recorded with the Philharmonia many times over the past 10 years or so – what is it about the Orchestra that keeps you coming back?

The Philharmonia Orchestra has a very special place in my heart as I had the privilege to first perform with the Orchestra when I was 16, under the baton of the late Lorin Maazel, and our relationship has flourished since then. My orchestral debut in London was with the Philharmonia, as was my very first tour experience and first album, so I associate many milestones with the Orchestra. Every time I return to the Philharmonia it feels like returning to family because we know each other well, we have a long history, and it’s always an immense pleasure to see the members and to experience their distinct artistry again.

“the beauty of the repertoire lives on and there is space for each new interpretation”