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Read the program notes to this concert on the New Jesey Symphony website 
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Fiddling around with sex
Read about marketing strategies of classical music, featuring Lara, the Eroica Trio and bond, by Lawrence A. Johnson (Sun-Sentinel) 
Lara St. John accidentally poisoned
During a photo shoot in Toronto, Lara St. John was accidentally poisoned by hydrogen peroxide at 35%. She is recovering after extensive tests at the Toronto General Hospital.
Lara debuts
Lara St. John makes her debut with the New Jersey Symphony under the direction of Hugh Wolff.
Young classical women spice up their image
A new generation of players have challenged the traditional depiction of female musicians, rocking the classical world. (Extensive article on sonicnet.com about Lara, the Eroica Trio, etc. by R.W. Deutsch.)
Omnipresence
Lara is featured in three prominent ads in the leading music directories. Take a look at all three ads.
(12/15/00)
Arigato
Lara returns from a highly successful trip to the Far East. Tokyo Symphony under Paavo Jarvi and Hong Kong Philharmonic among highlights. See flyer. (11/20/00)
Splash
Lara has a dip in the Pacific with conductor Samuel Wong after triumphant concerts with the Honolulu Symphony.
(10/10/00)
Duocapade
Lara and cellist Peter Bruns perform duo recital at Carnegie's Weill Hall. (9/27/00)
See glowing reviews and learn more about this excellent cellist
Ooh la la
Check out Lara's new photo session with Off Broadway, Ontario and let us know your favorite pic. (7/20/00)
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New Jersey Star Ledger, Jan 6, 2001
Homecoming
Hugh Wolff returns and NJSO responds with fulfilling performance.
"Business as usual" came in Wolff's welcome way of negotiating musical contradictions and contrasts for maximum effect.
It helped that violinist Lara St. John seemed to be on the same page right from the start of her two pieces, Chausson's "Poème" and Ravel's "Tzigane." Reversed in their order from their listing on the program, the works seemed to make much more sense as St. John played them. After the Chausson, which progresses as a short but self-contained entity for violin and orchestra, the Ravel opens with an extended violin solo, with the effect of mimicking the European tradition of having concerto soloists perform a solo encore before the interval.
But beyond that, the greater effect came through the playing itself. The Chausson's ultra-smooth veneer works best when there are no visible signs of effort, and St. John's approach was like silk barely touching the skin. The Ravel, on the other hand, filled with Gypsy influence, benefits greatly from a gritty sound, and to her credit St. John was not above taking that almost ethereal tone she cultivated and protected so well in the first piece and scraping it against the blackboard in the second.
Ken Smith
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