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Find all the revealing ARTICLES about Lara in major magazines and newspapers here Lara has given many INTERVIEWS over the course of her career. Here are the most interesting ones

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Lara St. John classical music's Lolita? The Toronto Star Front to Bach "Playing bare" brought new fans to violinist Lara St. John's classical form Knoxville News-Sentinel Violinist plays to her own tune Her sexy album covers draw attention to Lara St.John, but so does her skill Orange County Register Passionate Violinist St. John Doesn't Need Marketing Antics Los Angeles Times Classic seduction of a soloist Dressed in black, violin virtuoso touches the audience with her mere presence Press Telegram Lovely Lara St. John is the Madonna of the classical music world Winnipeg Sun Sex and violins Absolutely scandalous Lara St. John bares all for her art Time Out New York Tell Lara we love her The Edmonton Sun

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With Hugh Wolff

Reviews of 2001 Cincinnati Enquirer, November 4, 2001 What makes Ms. St. John a world-renown violinist is her phrasing - her artistic interpretation of the work. As she began a passage on an open string - and held it until she cued Mr. Kalmar - she showed a wonderful sense of timing. It was in the holding back, then moving forward that Ms. St. John created and carried a sense of excitement throughout the work. Ottawa Citizen, November 3, 2001 Two things about Lara St John have not changed in the last few years: she's hanging on to her teenage-floozy publicity image, and she still plays the dickens out of Bach. The Cincinnati Post, November 3, 2001 Making her CSO debut in the Bruch was Canadian-born violinist Lara St. John, whose elegant performance convinced this listener that she should return to our shores more often. Ms. St. John handled virtuosic passages with spark and assurance, but never did she milk the concerto for effect. All was stirred together with elegance and self control, earning the tall, blonde violinist well deserved "bravas" at the end. La Provence, October 22, 2001 Beethoven's Concerto for violin and orchestra demands the floor to be taken by someone of presence. Without going into every detail, in can be said that this young performer has a beautiful sound and line intentions to which she brings unfailing concentration. La Marseillaise, October 22, 2001 And the first impression (that this evening would be a great one) was emphatically confirmed by the dazzling young violinist, Lara St John. She drew from her violin, the "Salabue" Guadagnini, transparencies of sound held until they turned to air, with the virtuosity characteristic of the Russian school where she studied but without using this virtuosity to needless effect. New Jersey Star-Ledger, July 23, 2001 Prokofiev's Sonata No. 1 lived at an even more intense level. At times St. John allowed it to become downright violent without sacrificing musicality for ugliness. Yet it was the opposite mood which left the greatest impression. The violin's eerie sound of the wind whistling around gravestones and distant bells tolling in the piano were hair-raisingly conveyed. New Haven Register, May 5, 2001 Violinist Lara St. John clearly grasps the importance of temperament in this late-19th-century showpiece (Bruch Concerto No. 1). American Record Guide, March 2001 How about Lara St. John then? There's a beautiful young woman who doesn't have a contract with a major like EMI, only in her case she actually has talent. Tons of it. Is there no justice in this world? Please, Lord. Give me a sign." Toronto Star, February 26, 2001 For her part, St. John swept through Sarasate's fiendish Zigeunerweisen like fire through prairie grass, rendering the sinuous sensuality and dancing frenzy of its gypsy moods with equal aplomb. Classical New Jersey Society Journal, February 21, 2001 Violinist Lara St. John pulled off one of the more amazing feats of violin performance in memory. For Chausson's Poeme she was all delicacy as she drew out the sweet dissonances and tensions. Her sound was always refined whether forte or piano, and her harmoncs had a silver quality. New Jersey Star Ledger, January 5, 2001 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. Strings Magazine, January 2001 Handel-Halvorsen’s Passacaglia set a new record for speed, bravura, and risk taking. next page - reviews of 2000