Yolanda Kondonassis – Press

“The high point came midway in the concert with Yolanda Kondonassis as soloist in Ginastera’s Harp Concerto…When soloist and orchestra interacted, Kondonassis hit hard via sharp attacks, tautly articulated rhythms and dramatic turns of phrase. Yet in more lyrical passages Kondonassis let the music breathe, conductor Villaume conjuring a sense of stillness in the orchestra.”

“She seemed to make the instrument roar, whisper, wail… it served well as a testament to both the instrument’s underestimated expressive latitude and Kondonassis’s command over it.”

“Her performances are marked with intensity and energy — and her choice of repertoire continually pushes the limits.”

“I think if I have a signature, maybe it is the range of color, the range of experience that is possible with the harp.” – Yolanda Kondonassis

“Yolanda Kondonassis is one of the leading harpists in the world today.”

“This is also where Kondonassis can display her technical command, with what sounds like extremely difficult loud chords and fast notes played in contrary motion.”

“This performance was beautiful throughout, showcasing Higdon’s colorful harmonic language.”

“Starting alone, she played a descending, chime-like benediction that instantly changed the air in the room.”

“Kondonassis is a muscular, energetic performer.”

“She strummed and plucked, her fingers flying across and up and down, in graceful circles and mad sprints. It was a beautiful mess of organized chaos that at times left us breathless.”

“there was something prayerful about Kondonassis’s playing, particularly in the quieter moments… …Sonically, the presence of Kondonassis’s harp seemed to signify magic at work, in the throes of a hectic and sobering reality, as played by the orchestra… …For the next movement, the inspired “Lullaby,” Kondonassis’s mystical harp began a gorgeous dialogue with solo viola, before flute, cello, melodic percussion, and additional woodwinds joined the interplay.”

“…the harpist rippling evocatively in bucolic music attractively accompanied.”

“From the first punchy rhythms in the orchestra and the harp’s staccato response, we are held in thrall and wouldn’t dare turn away our attention. Ms. Kondonassis possesses a beguiling tone that shifts in and out of light—like painted colors in a moving picture claiming our imagination, so pungent, we can see the sound.”

“The album is a masterpiece. Kondonassis’s playing in the concerto is rhythmically exact, yet passionate. It is mesmerizing… The Shahams are two of the most inspiring performers of our day, and their performance on this album simply adds another feather to what must be an already heavily-plumed cap… Jason Vieaux’s playing captures the ear with equal parts charisma and wistfulness. Like the other soloists, Vieaux is at the top of his field, and he ties the album’s performances together with uncanny skill… A wonderful overview of Ginastera’s music.”

“Yolanda Kondonassis was the fiery soloist, playing a demanding part with zest. Ginastera’s harp writing showcased many 20th-century techniques such as sweeping the strings with the nails and bending pitches with the pedals, and yet these moments never seem forced; Kondonassis gave them a dazzling elan.”

“Kondonassis’ playing appeared effortless, and her every motion was planned to the smallest detail. With the final strokes of the harp and the last emphatic chords, the spell was broken, and Kondonassis rose triumphantly. The standing ovation she received spoke to the profound depth of her performance.”

“Vieaux and Kondonassis demonstrated supreme artistry, as individual virtuosos and as a most intuitive team. Their technique allowed them to transcend the relatively limited timbral range of their instruments and create a spectrum of sonic delight.”

“Yolanda Kondonassis appeared effortless in her technique. Ginastera’s bold style calls for quick shifts in emotion, and Kondonassis masterfully matched timbre to each phrase’s mood and style.”

“Her playing was resonant and confident… Her arms and hands glided over the strings, arpeggios pouring out as if by their own accord.”