Reviews

WAZ BOCHUM, 25.3.2009 – of: concert with the Bochum Symphonic Orchestra at the Thürmer-Saal: Rachmaninoff, Mozart, Shostakovich —- Antje Weithaas, also leading the orchestra, began light-footedly and gently. From the very first tone, she led the Bochum Symphonic to a homogeneous sound body and communicated incessantly by means of her expressive body language. She “danced” the music and bestowed an impressive charisma on the rhythmically more accentuated elements.

RBB KULTURRADIO, 17.3.2009 – of: Mendelssohn-CD with Silke Avenhaus — Antje Weithaas has researched. (…) Weithaas discovered a wonderful movement of a violin sonata in D minor, two thirds finished – and she performs the slow introduction of this remarkable movement with great fragility, tentatively shaping every last note. (…) The way in which Weithaas and Avenhaus play music together is (also in the “famous” early sonata in F minor, op.4) simply clever, tasteful, brave – and is true chamber music. (…) Weithaas and Avenhaus have found the very specific “Mendelssohn-tone”. Mendelssohn does not sound either too easy or pampered, nor deliberately dramatically charged.

KLASSIK.COM, 13.2.2009 – of: Mendelssohn-CD with Silke Avenhaus — It is marvellous for example, how both musicians shade the second theme of the first movement [of the sonata in F Major 1838] with subtle nuances and profundity by attentively focussing on the changes between major and minor.

THE AUSTRALIAN, 11.8.2009 – Antje Weithaas with the Queensland Orchestra in Brisbane: Berg Violin concerto — Exuding compassion, tenderness and despair, Weithaas used a brilliant spectrum of colour and her theatrical vibrato dug so deep into the strings, it seemed at times as if she could draw blood.

ESSLINGER ZEITUNG, 14.7.2009 – Antje Weithaas with her piano trio at Ludwigsburg Castle Festival — Antje Weithaas (violin), Tanja Tetzlaff (cello) und Gunilla Süsmann (piano) performed the works with great passion and inspiration and brilliantly displayed Clara Schumann’s most famous piece, the Piano Trio in G minor op.17.

FAZ, 11.2.2009 – of: concert with Silke Avenhaus — In the concert series “Treffpunkt Klassik” in Kelkheim Town Hall, the duo made very precise distinctions between Brahms and Mendelssohn with regard to personal style and generation with the Violin sonata in F Major (1838) by the latter on the occasion of his bicentennial anniversary. Here they sounded much brighter with likewise specific expression, lively, joyfully excited, with elfish ease in the first and last movement.

WWW.VIVAORCH.CO.UK, January 2009 – of: concert with the sinfonia ViVA in Derby — Antje Weithaas was the soloist in what was probably the most engaging performance of the E minor Violin Concerto I think I’ve ever heard. Her interaction with the orchestra was as much of a delight as her actual playing – impeccable technique informed by controlled spontaneity. The second movement was unaffected and straightforward, and all the better for it.

GENERALANZEIGER, 20.1.2009 – of: concert with the Staatsorchester Rheinissche Philharmonie Koblenz at Beethovenhalle Bonn — The programme [of the Staatsorchester Rheinische Philharmonie Koblenz] included works by Beethoven, Britten and Brahms. Without a doubt, the highlight was Britten’s violin concerto, premiered at the New York Carnegie Hall in 1940, which was captivatingly performed by the splendid Antje Weithaas.

GENERALANZEIGER, 16/1/2009 — In the fourth chamber concert in the Beethoven-Haus, presented by the Beethoven Orchester Bonn, both works [Ligeti: Trio für Violin, Horn and Piano 1982 and Brahms: Trio for Violin, Horn and Piano E-flat Major op.40] could be heard in tremendously emphatic interpretations.

WIENER ZEITUNG, 18.11.2008 – of: Violin concerto op. 33 by Carl Nielsen with the Tonkünstler Orchestra under Kristjan Järvi in Vienna — Antje Weithaas delivered a remarkable performance as soloist. She mastered the fast-paced passages impeccably, seemingly effortless, and the sound of her violin always remained supple and pure. With sensitivity, she savoured the lyrical passages.

FONO FORUM, 11.2008 – of: French Violin sonatas: CD with Silke Avenhaus — (…) a well attuned duo with outstanding interpretations (…). No matter which sonata or movement one chooses from this CD, it is simply impressive what a rich range of timbres and nuances violinist Antje Weithaas is capable of and how aptly she meets the work’s demands. The two-movement sonata by Saint-Saëns with its elegance and esprit is instantaneously captivating (…). In Ravel, Weithaas and Avenhaus make the colours become fragrant (…): Fauré‘s early first violin sonata, sometimes still reminiscent of Schumann, blossoms in romantic indulgence.

HANNOVERSCHE ALLGEMEINE ZEITUNG, 23.9.2008 – of: Beethoven’s Violin concerto with the Staatsorchester Hannover — Weithaas (…) combines her intelligent, analytical performance with an extraordinary spirit. She interlinks herself very closely with the orchestra, for instance in the first movement. She does not boast needlessly, but picks up motifs, gives them back, creates references. Weithaas gives impulses in the communication with her partners, being the impetus of the music. Her energy and her passionate, occasionally bold resolve are captivating.

PIZZICATO, February 2008 – of: Brahms CD with Silke Avenhaus — once again, they have recorded an outstanding CD. It is characterised by perfect musical interaction (…). That requires a perfect technique, it is for instance worth listening to Antje Weithaas’s brilliant intonation or the subtle playing of Silke Avenhaus. Brahms’ music is living, breathing, full of suspense; it can be joyful, contemplative, cheerful and earnest. (…) Consequently, it is unnecessary to focus on certain moments as everything sounds so consistent. Even if their dedication is always present, their performance never lacks the confident knowledge of what is important to Brahms.

DER TAGESPIEGEL, 8.4.2007 — Sofia Gubaidulina’s violin concerto “Offertorium” after the interval calls for a proactive interpreter. Antje Weithaas plays this work from 1981 with heroic empathy; in her flexible playing, Gubaidulina’s sophisticated, almost corporeal instrumentation finds its perfect match.

POTSDAMER NEUESTE NACHRICHTEN, 10.10.2006 — as leader (and later soloist), Antje Weithaas guided the ensemble to make music with relish, which oscillated in the flow of the melodies. Her performance of Joseph Haydn’s A Major Violin Concerto, which only appeared in print in the middle of last century, was also defined by playing stamped with such brio. The orchestral introduction sounded simultaneously firm and fresh, before Antje Weithaas began to dance her technically formidable string escapades in the solo. Here she showed herself to be a resolute rhetoric. Her singing of the most longing passages was completely heartfelt, while her passion grew into controlled virtuoso intoxication – in short, she lived the music with every muscle and nerve fibre, acting out the sounds with extraordinary bodily, physical dedication.

NEUE ZÜRCHER ZEITUNG, 20.9.2006 — Weithaas (…) and the young pianist Avenhaus (…) are passionate chamber musicians. They shape the alternating ranges of expression with the most beautiful reciprocal adjustments.