Lara St. John - Reviews

With Hugh Wolff

Reviews of 1999

The Knoxville News-Sentinel, October 3, 1999

The dialogue between St. John's Stradivarius, concertmaster and pricipal second violin, especially in the spring and fall sections, had physical dynamics that recordings of "Seasons" can't convey.

Le Droit - Ottawa, July 24, 1999

In the "prelude" to the orchestral program, Lara St. John, with total concentration and a great expressive precision, played the second Partita - the one in D minor with the glorious Chaconne - by Johann Sebastian Bach. She gave it not only a dazzling sense of structure, but she also breathed into it that vibrant universe of musical imagination which is hers.

Ottawa Citizen, July 22, 1999

It was an exceptionally individual performance, thoroughly sensous and seductive, and yet one still had the feeling that the music was Bach's.

It was outstanding without being outlandish.

The Globe and Mail, July 22, 1999

Violinist Lara St. John gave sizzling demonstrations of why [she is one] of Canada's hottest young talents.

From the prelude's soulful solo entry to the richly Romantic later movements, she treated Ottawa to a superbly resonant, technically secure interpretation of Bruch's Violin Concerto No. 1.

New York Post, July 20, 1999

She seemed completely at home [...] in the Slavic soulfulness and dazzling violinistic tricks of Rechtman's Variations on "Dark Eyes," in which the mournful Gypsy-like tune gave her rhythmic space and freedom. She made good use of it.

The Strad, July 1999

This playing is deliriously over-the-top. Lara St. John has a stunning technique (you need it for the Waxman Carmen Fantasy in particular) and knows just how to use it for maximum effect. When the notes start teeming she simply puts her foot down on the accelerator and plays even faster; when the all-pervading gypsiness of this music turns inward and brooding, she does the whole Douglas Fairbanks bit: roguish, swaggering, irresistibly charming, it's all there and more.

The Indianapolis Star, June 27, 1999

The concert moved briefly from the outdoors to the salon, figuratively, as St. John returned to dazzle the audience with Saint-Saens' Introduction and Rondo Capriccioso. This piece may be a warhorse but violinists who either can't play it or won't might as well toss it in and take up something honest, like plumbing. St. John can stick to her fiddle.

The San Diego Union-Tribune, May 24, 1999

As impressive as she was expressive, the virtuosa performed with such naturalness and depth of feeling that she caused you to think better of Bruch's concerto, which tends to be gloomy and thematically limited.

Baltimore Sun, May 20, 1999

In contrast to soloists' polite readings in past seasons, Lara St. John's performance of the concerto in G mior gave full expression to the music's passion.

The Capital, May 19, 1999

Her technique is impressive and articulate, tossing out the double stops and moments of bravura without a hitch, imbueing it with a resolute urge to move ahead.

American Record Guide, May/June 1999

The sonata's [Prokofieff No. 1] towering dignity and pathos were fully evident; this was among the greatest performances I have heard of the work.

St. John has the refreshing ability to sound as if she is improvising, and this, balanced by her firm grasp of form, is what makes hers such a talent.

Montral Gazette, January 14, 1999

St. John The Highpoint in MSO Pops Concert

Los Angeles Times, December 9. 1998

St. John brings to the stage personal charisma, an unflagging musical imagination and genuine passion. And all this without resortig to marketing antics.