ADELE ANTHONY The Missoulian • April 25, 2014

Violinist to play mentor's work during SOR finale BY ROB CHANEY When teacher and student become composer and performer, both the music and the audience benefit. Australian performing and recording artist Adele Anthony will demonstrate the progression during her appearance with the String Orchestra of the Rockies in Missoula on May 4. She will play the violin solo in Eric Ewazen’s Concerto for Violin and Strings. “I first knew Eric as a teacher rather than as a collaborator, when he was a professor at Juilliard,” Anthony said in a phone interview. “I still find it hard not to call him Mr. Ewazen. But he’s an effervescent personality, and the music is very bright and welcoming, energetic and beautiful at the same time. It sounds very American.” SOR music director Fern Glass Boyd described the feature piece as “nuevo Aaron Copland” that showcases the range of a violin’s expressive qualities. Glass Boyd was a classmate of Ewazen’s at the Eastman Academy of Music. Anthony worked with the Sejong Soloists to produce the first commercial recording of the concerto, and said she looked forward to seeing the piece evolve through the interests of SOR’s members. “Musicians are very receptive to the idea of trying to work together, to produce something exciting and new,” Anthony said. “We enter the rehearsal wanting to be joining in the same musical vision. That’s a chamber-music mentality. You expect other players to have input, because there are always many different ways of playing the same piece.” Anthony has worked with husband and violinist Gil Shaham in the United States and Spain on numerous concerts and recordings in honor of the passing of Spanish violinist and composer Pablo Sarasate. She has been heard on the nationally broadcast PBS “Live from Lincoln Center” series, including its Emmy Award-winning “Lincoln Center Celebrates Balanchine” performance in 2004. She has also recorded Philip Glass’s Violin Concerto with Takuo Yuasa and the Ulster Orchestra, Arvo Part’s “Tabula Rasa” with Shaham, Neeme Jarvi and the Gothenburg Symphony Orchestra, and the Nielsen Violin Concerto with Dorrit Matson and the New York Scandia Symphony. Her latest recording is the Sibelius Violin Concerto and Ross Edwards’ “Maninyas” with the Adelaide Symphony Orchestra in 2011. SOR’s season finale concert also features Johann Stamitz’s “Mannheim” Symphony in A Major, Peter Sculthorpe’s Little Suite for Strings W. 169, Handel’s Concerto Grosso Opus 6, No. 1. and Gustavus Holst’s St. Paul Suite. Sculthorpe is an Australian composer whose work in this concert combines three of his noted works for movie and documentary scores from the 1960s, one of which celebrates Anthony’s birthplace on the island of Tasmania.

Adele Anthony The Missoulian • April 25, 2014 page 2 of 2 Anthony will rejoin the SOR company for the Holst performance, a work often compared to J.S. Bach’s Brandenburg Concertos for invention and variety. She will also conduct a free master class on Friday, May 2, at 3:30 p.m. in the University of Montana Music Recital Hall. “It’s so nice to play again and be leading a string ensemble,” Anthony said. “It is a sensitive thing to lead a group that’s in existence already. I’m very excited to come.”

ADELE ANTHONY Daily Telegram • March 31, 2014

Soloist Adele Anthony, ASO give dazzling performances BY ARLENE BACHANOV It’s certainly not every day that a classical-music audience in any town gets treated to the sound of a Stradivarius, especially at the hands of someone who clearly knows the instrument. So it was a real treat for Saturday night’s Adrian Symphony Orchestra audience to get to hear one of those fabled violins — and an especially beautiful-sounding example, at that — played by guest artist Adele Anthony, in a performance of one of the repertoire’s great works, Mendelssohn’s E minor concerto. A groundbreaking work at its 1845 premiere, this concerto quickly became a favorite of performers and audiences alike, and for good reason. It’s just about the perfect blend of lyricism and artistry, and Mendelssohn didn’t put a note in it that doesn’t belong there. Even the virtuosic passages, of which there are many, aren’t dazzling just for the sake of being so, but serve to advance the whole. And the rendition of this piece put forth by Anthony and the ASO was a fine performance of this terrific concerto. Almost right from the start, the soloist is called upon to plunge pretty fearlessly into the work, and Anthony certainly did that, with both passion and precision. Her dazzling artistry and impeccable technique went hand in hand with a tremendous ability to capture the sheer beauty of the piece. It also has to be said that her choice of violins, this particular Stradivarius, makes for a first-rate listening experience because there’s a really marvelous quality to the instrument. Not all Stradivarius sound the same, of course, and the one she plays is very fine. Anthony’s spectacular playing was complemented by some very nice work by the Adrian Symphony and conductor John Thomas Dodson. Not only did they play the piece really well, but they also adjusted perfectly, and seemingly effortlessly, to whatever Anthony was doing, and it all meshed into a fine performance. The Mendelssohn was, in typical fashion for a concerto, the second work on Saturday’s program. The evening opened with Wagner’s “Siegfried Idyll.” Plenty of wives would be happy to get flowers from their husband on their birthday. Wagner gave his wife, Cosima, this beautiful piece of music, and it is most certainly a love letter in music. In fact, the whole thing has this sense of intimacy to it that makes a listener feel like he or she is eavesdropping on a personal conversation. Saturday’s audience got a real treat with the ASO’s performance, because it was a lovely rendering of this joyous, warm piece. For those who know Wagner but had never heard this particular composition, it had to have been a revelation to see that the generally bombastic Wagner could also write something like this. And for those who did know the work, it might well have been a revelation to hear Dodson’s vision of it.

ADELE ANTHONY

The Arts Desk December 3, 2011

Classical CDs Weekly: Bartók, Tchaikovsky, Edwards, Sibelius,

John Wilson BY GRAHAM RICKSON

Two hefty discs of violin concertos and a collection of British light music

Ross Edwards: Maninyas, Sibelius: Violin Concerto Adele Anthony (violin), Adelaide Symphony Orchestra/Arvo

Volmer (Canary Classics)

Another pair of violin concertos make unusual but effective companions on this disc from Adele Anthony, known to

some as the wife of violinist Gil Shaham. She’s superb. Her sound is a bit less steely than Sokolov’s, and she makes a

glowing case for Australian composer Ross Edwards’s Maninyas – its title referring to a made-up word characterising what Edwards saw as "dance-chant". The concerto was completed in 1988, after Edwards’s return to Australia from

England. And you do sense a feeling of relief, of delight at coming home, in this vibrant, colourful music. Edwards

writes that the sounds of droning cicadas informed the piece’s style – the irregular stops and starts, the rhythmic

instability suggest this. You hesitate to describe the work as sounding Australian, but there’s a brightness, a sun-drenched warmth to the sonority that can become almost oppressive at times. Edwards’s unashamed embrace of

tonality is also disconcerting, but it’s hard to resist, particularly in the brief third movement chorale. And it’s

magnificently played by Anthony, whose athleticism in the faster sections is staggering.

If you accept that Maninyas’s character is rooted in the Australian climate and landscape, it’s a short step to accepting

Sibelius’s 1904 Violin Concerto as a work suffused with ice, grit and damp. I love Sibelius but have always found this the hardest of his large-scale works to admire. The first movement always feels a little too baggy, with too many stops

and starts before things seem to get moving. But Anthony’s slow movement is ecstatic, and she closes proceedings with

a finale that’s infectious and ultimately thrilling, despite an expansive tempo. She’s superbly accompanied by Arvo

Volmer’s Adelaide forces, and the recording is nicely balanced.

ADELE ANTHONY

Allmusic.com November 4, 2011

Ross Edwards: Maninyas; Sibelius: Violin Concerto Adele Anthony BY MIKE D. BROWNELL

Separated by nearly a century, and written on virtually opposite ends of the globe, the violin concertos of Australian Ross Edwards and Finn Jean Sibelius would appear to have little in common. In juxtaposing them, this Canary Classics

album makes the argument that both composers were highly influenced by nature and their environment. For Edwards,

this is certainly the case. His emergent and self-identified style, known as Maninyas, draws heavily from Australian culture as well as the sounds of nature. The violin concerto incorporates this style with an exciting rhythmic vibrancy

and melodic interest. Sibelius did not attempt to directly quote sounds from his surroundings, but in a more abstract

sense he certainly defined Finnish art music for generations to come. Whether or not these two concertos are ideal disc mates or not is up to individual listeners. But what is certain is that both are marvelous contributions to the repertoire.

Violinist Adele Anthony, joined by the Adelaide Symphony Orchestra, elevates them both with her playing that is

bursting with rhythmic vitality and energy in the Edwards, and dripping with long, lush melodic lines in the Sibelius.

Her connection with conductor Arvo Volmer is effortless, creating a relationship between soloist and orchestra that is seamless and dynamic. Anthony's sound is not exceptionally powerful, and some may wish that Canary had increased

her levels throughout the disc.

ADELE ANTHONY

Gapplegate Classical-Modern Music Review October 17, 2011

Ross Edwards, "Maninyas," Sibelius Violin Concerto, Played by

Adele Anthony BY GREGO APPLEGATE EDWARDS

We hear in violinist Adele Anthony a bright young star launching into the firmament. She has beautiful tone, great facility, impressive phrasing and a rhythmic drive that is very fitting to the works at hand. For this, her recording of

Ross Edwards's Maninyas and Jean Sibelius's Violin Concerto in D Minor (Canary Classics 09), she is joined by the

sonorous and very well-prepared Adelaide Symphony Orchestra under the direction of Arvo Volmer. There is a

marvelous give and take between soloist and orchestra on both pieces and Volmer draws out the orchestral nuances that in turn are used as a means for Ms. Anthony to take sonoric virtuoso flight in rather breathtaking ways.

Her cadenzas are marvelous. But it is in her interpretations of the central written parts that Adele especially excels.

Both the Edwards and Sibelius concertos have in common a folk element and a rhythmic vitality that orchestra and

soloist bring out well. The allegro passages of Maninyas have a Stravinskian-Reichian rhythmic-cellular thrust that

Edwards transforms to suite his own total-harmonic palette and the aboriginal theme. The center chorale is tender and lyrical. This piece was heretofore unknown to me. After hearing Ms. Anthony and Maestro Volmer proffer their

version of it on this album I must say I am now a true believer.

The Sibelius concerto of course has been performed countless times since it was written. There have been many

wonderful recordings. Anthony and Volmer offer an interpretation that ranks among the best. Adele draws out the

romantic, rubato passion inherent in the score without sacrificing rhythmic motility. It is a singular thrill to hear her performance here. I have heard more of the folk element drawn out in other versions, but for the ravishing beauty of her

execution Adele Anthony's interpretation nears the very best.

In short this disk is vibrant, impressive, and highly sonorous. It is an example of the excellence of Australia's Adelaide Symphony, the finely detailed interpretive nuances of Arvo Volmer's take on these two works, and the impressive

powers of Ms. Anthony. Highly recommended.

ADELE ANTHONY

21C Media Group September 26, 2011

Adele Anthony Plays Sibelius and Ross Edwards Violin Concertos

on Her First Solo Recording for Canary Classics On Adele Anthony’s last concerto album – a recording of Philip Glass’s violin concerto on the Naxos label – she

“prove[d] herself the ideal soloist,” scoring the 15th spot in Classic FM’s “Best Albums of 2000–09” feature; the New York Times describes the results as “a vibrant, throbbing performance” on which “Anthony’s sweet-toned, romantic

playing soars.” Now, on her first solo recording for Canary Classics, Anthony (winner of the 1996 Carl Nielsen

International Violin Competition) pairs two more violin concertos: Sibelius’s turn-of-the-20th-century classic and Maninyas, the “contemporary masterpiece” (Financial Times) by leading Australian composer Ross Edwards. She is

accompanied by Australia’s Adelaide Symphony and its Music Director and Chief Conductor, noted Sibelius

interpreter Arvo Volmer.

The new album, which has its U.S. release this month, is already available in Europe and Australia, where it has found

notable champions. The Finnish press – notoriously exacting when it comes to Sibelius – nonetheless sat up and took

note, observing:

“[Maninyas] proves an ideal foil for the Sibelius: it is bright, rhythmically buoyant, basically optimistic in outlook, setting off the dark and introspective violence of the Sibelius – which gets a cracking performance here, both from

[Adele Anthony] and the orchestra, with a freshness and a directness that makes you forget that you’ve listened to it

countless times before.”

– Finnish Music Quarterly (Sept 2011)

As for the Edwards concerto, Anthony’s interpretation comes endorsed by the composer himself, who “is extremely

happy with the performance…and recommends it most highly,” and a recent concert review posits Edwards as “arguably the most original, most recognizable of all Australian composers” and Anthony as his “eloquent, deeply

committed soloist” (Advertiser, Australia).

The recording owes its success in part to Anthony’s long and intimate association with the two works. The Australian-

American violinist was just 13 when she performed Sibelius’s concerto to become the youngest winner in the history of Australia’s prestigious ABC (Australian Broadcasting Corporation) Instrumental and Vocal Competition. After a more

recent account of the work, with the Nova Scotia Symphony in May 2011, the Chronicle Herald observed that her

rhythm was “as sharp as a skyscraper,” while “her consistently full, even, warm tone [was] impeccably tuned and maintained across every register, every range, and every dynamic level.”

As Anthony explains, Edwards’s Maninyas (1988), is both closely identified with her native country, and a work she

has come to know over a long period:

“Even though the two concertos come from opposite ends of the world, they’re both tied to my roots in Adelaide. I played the Sibelius with the Adelaide Symphony when I won the national competition there so long ago! It’s great to

perform it there again with a fresh new perspective. And with the Edwards, there’s the Australian connection, and it’s

also a piece that’s particularly dear to me, as I learned it many years ago. I was fortunate to record it with the Adelaide Symphony, my hometown orchestra, so it definitely connects to my hometown and country. And I love it regardless of

Adele Anthony

21C Media Group September 26, 2011

page 2 of 2

being Australian. It’s a piece I was always attracted to, and I hope people hearing it for the first time will be able to

appreciate it as much as I do!”

As Maninyas reveals, Ross Edwards (b. 1943) – whose oboe concerto, Bird Spirit Dreaming, was recently performed by the New York Philharmonic – has created a unique sound world, chiefly by developing two distinct musical styles in

response to his natural environment. The first, featuring isolated sounds that evoke traditional Asian music in their

intensity, has come to be known as his “sacred” style, as employed in the concerto’s central movement, which

comprises a cadenza and a slow, serenely elegiac chorale. By contrast, the second – his “maninya” (chant song) style – is characterized by the abstraction of insect and bird sounds, lively tempi and rhythms, angular pentatonic melodies,

and simple drone-like harmonies, as found in the concerto’s outer movements.

The Sibelius and Edwards concertos make for an inspired coupling on the disc. As Anthony remarks, “Both pieces are nationalistic – the Sibelius sounds uniquely Finnish and the Edwards sounds uniquely Australian. Each composer has a

distinctive sound that portrays his native country.”

Since her triumph at Denmark’s 1996 Carl Nielsen International Violin Competition Adele Anthony has enjoyed an acclaimed and expanding international career with a schedule that includes both solo appearances and chamber music

performances around the world. She has played concertos with the orchestras in Houston, San Diego, Seattle, and

Indianapolis; with the Budapest Philharmonic Orchestra, Gothenburg Symphony Orchestra, Leipzig Gewandhaus

Orchestra, the NDR Orchestra Hannover, the Orchestre Philharmonique de Radio France; and with all six symphony orchestras in her native Australia. Her recent recitals included the complete works of Bach for solo violin. She also

performs regularly in duo recital with her husband, the eminent American-Israeli violinist Gil Shaham. In 2008 they

collaborated in concerts in the United States and Spain marking the centenary of the death of Spanish violinist and composer Pablo de Sarasate. The concert in New York’s Lincoln Center was broadcast nationally on PBS. Most

recently she joined Shaham and other friends and colleagues for a series of Brahms chamber concerts at Carnegie’s

Zankel Hall.

Anthony’s discography includes two releases with the International Sejong Soloists: Vivaldi: The Four Seasons (Naxos, 2006), and Sejong plays Ewazen (Albany Records, 2003). Her recording of the Philip Glass Violin Concerto

with Takuo Yuasa and the Ulster Orchestra, also on Naxos, came out in 2000, following an earlier all-Schubert album

from the same label. She has also recorded Arvo Pärt’s Tabula rasa with Gil Shaham, Neeme Järvi, and the Gothenburg Symphony Orchestra (Deutsche Grammophon, 1999), the Nielsen Violin Concerto with Dorrit Matson and the New

York Scandia Symphony (Centaur, 2000), and a Sarasate recording with Gil Shaham (Canary Classics, 2009).

The new disc marks an exciting departure for Canary Classics, which was founded in 2004 by Adele Anthony’s husband, Gil Shaham. To date, Shaham himself has performed on all titles in the catalogue, and although these number

among them many collaborative projects –including an album of Sarasate’s virtuoso violin works with Anthony – her

new release will be the first solo project on the label from an artist other than Shaham. “We’ve been so lucky with

Canary,” he explains. “When we started, it was a bit of a gamble, but I felt I was young enough to take the risk, and just established enough to feel good about doing it. And now, nine titles later, I’m thrilled that Canary can expand – we’re

still a small family business, but we’re growing!”

Adele Anthony

Adelaide Symphony Orchestra

Arvo Volmer, conductor

Ross Edwards: Maninyas, Violin Concerto

Sibelius: Violin Concerto

Catalogue no. CC09

U.S. release: September 2011

ADELE ANTHONY

Charleston City Paper January 18, 2011

Review: Charleston Symphony Orchestra's season opener BY LINDSAY KOOB

As I entered the Gaillard Friday evening for the Charleston Symphony Orchestra’s belated season opener, I wasn’t sure

how I’d react. But as I slipped into my seat, a lump formed in my throat when my gaze fell upon the mostly familiar faces of the musicians on stage. It was like the first sight and sound, after a year’s absence, of a cherished old friend.

Then the lights went down, and after the usual formalities, the music began. And I knew I had my beloved Charleston

Symphony back.

Under the deft and sensitive baton of guest conductor Glen Cortese, the CSO proceeded to treat us to a choice array of

music. But before the official program began, our musicians offered a special tribute to their beloved late music

director and conductor, David Stahl, a smooth and moving rendition of Edward Elgar’s ultra-sentimental “Nimrod,” the

ninth of his wonderful Enigma Variations. And for a few fleeting moments, the fair-sized crowd came together in mourning for their fallen maestro.

Then it was down to the serious but joyful business of the evening’s main fare: three of the finest German creations

from the late-romantic era. First up was Johannes Brahms’ best-known musical “joke,” the exuberant Academic Festival Overture. The composer, upon receiving an honorary degree from a leading German university, was obliged to

reciprocate with a formal symphonic composition. But the school’s crusty old professors certainly didn’t expect what

they got — a high-spirited pastiche of student drinking songs, cunningly woven into a sophisticated and appealing orchestral fabric. I was immediately impressed with the orchestra’s precision and robust sound; Maestro Cortese

brought just the right touch of tongue-in-cheek humor to the piece, while paying scrupulous attention to the details of

dynamics and expression.

Taking us to intermission was Richard Strauss’ Don Juan, one of several of his orchestral gems that set the late-romantic standard for the “tone poem” form. I was a bit worried about this one, as our orchestra was a good bit smaller

than is usually heard with this music. Also, Strauss’ tone poems are fiendishly difficult, calling for an orchestra of real

virtuosos — and our band had quite a few freelance subs on stage, especially in the badly depleted strings sections that the CSO’s new contract left them with. But I was pleasantly surprised when Cortese and company tore into the music

with passionate, yet accurate abandon. The strings sounded full and burnished, and the woodwinds and brasses

glittered. And oh, those magnificent French horns! This music is full of problematic starts, stops, and hairpin turns, and one or two of these abrupt transitions sounded just a bit ragged. But, from the overall confidence and cohesion of their

playing, it was obvious that Cortese had prepared his players beautifully. Among several notable solo passages, Mark

Gainer’s enchanting oboe stood out.

After halftime, our musicians returned, along with renowned Australian violin virtuoso Adele Anthony, for a glorious go at Brahms’ only violin concerto — one of the true pillars of the concerto repertoire. It’s not one of those flashy,

spectacular showpieces that calls primary attention to the soloist, yet it remains a fearsome challenge to even the finest

players. And, especially in the extended opening movement, it’s a work of strong contrasts that leavens its moments of brusque drama with passages of surpassing lyric intensity and sweetness.

Anthony delivered a lush and lovely account, lending a distinctly feminine touch to music that many regard as

overwhelmingly masculine in nature. She (and Cortese) never let the orchestra dominate, though a few of her lower

Adele Anthony

Charleston City Paper January 18, 2011

page 2 of 2

notes were swallowed up, due in part to the Gaillard’s spotty acoustics. Even at the top of her instrument’s register, her

silvery tone never went thin or shrill. In the quieter moments, there was a bewitching delicacy to her playing, and her

varied and intermittently “weepy” vibrato melted the hardest hearts (and ears). And she rose admirably to the occasion when the going got heavy, delivering her parts with power and authority. She let out all the stops in the rollicking,

Hungarian-toned finale, bringing the house down when it was over. Cortese saw to it that she got smooth and supple

orchestral support.

Those (including me) who feared for the CSO’s performance quality in light of recent developments came away from this unforgettable evening reassured that their orchestra remains in fabulous form. It’s so good to have them back.

Adele Anthony

The Grand Rapids Press October 31, 2008

Grand Rapids Symphony BY JEFF KACZMARCZYK

Press Photo/Adam Bird

Halloween treats violinist Adele Anthony performs with the Grand Rapids Symphony Orchestra on Friday night.

It was called the devil's instrument.

There were those in the 19th century who swore they saw the Satan moving guiding his bow arm when Niccolo

Paganini played violin.

Literature frequently depicts Old Scratch scratching away at a fiddle.

Don't get me started on the Charlie Daniels Band and "The Devil Went Down to Georgia."

So when a regularly scheduled concert just happens to fall on a holiday such as Halloween, why not simply take the

pumpkin and run with it?

The Grand Rapids Symphony's Classical Series concert on Friday in DeVos Performance Hall featured serious music

that just happened to be spooky and eerie stuff.

Violinist Adele Anthony was the devil with the red dress on.

Guest conductor Edwin Outwater was the sorcerer waving the magic wand.

Anthony was summoned last week when previously engaged fiddler, Stefan Jackiw, bowed out due to injury. She also

was gracious enough to spend time this week with students at Grand Rapids City High School.

Adele Anthony

Grand Rapids Press October 31, 2008

page 2 of 2

The native of Tasmania -- yes, another devilish reference -- has all the necessary gifts, including a rich sound

and fast fingers.

Her performance of "Legend" by 19th century Polish composer and virtuoso Henri Wieniawski, who was

known, among other things, for his stiff-bowing "devil's staccato," was the warm-up.

Things really flew with Camille Saint-Saens' Introduction and Rondo Capriccioso, one of the greatest of all

fiddle show-offs. She played with a singing tone, polished arpeggios, sturdy double stops. Anthony added a

measure of voltage as she took it up a notch with each return of the melody. Her standing ovation was deserved.

Outwater is music director of the Kitchener-Waterloo Symphony, a town strikingly similar to Grand Rapids --

economy, population, latitude, even a river named Grand running through it.

Outwater slipped easily into his role, conducting with sharp-edged, explosive effects. In fact, he lit a fire under the

ensemble, and the audience got to enjoy the heat in Modest Mussorgsky's "Night on Bald Mountain," which most

everyone knows from Walt Disney's 1940 animated film "Fantasia."

3.5 out of 4 stars

Adele Anthony

Houston Chronicle March 16, 2008

Houston Symphony’s vibrant 'Italian' program boasts music for all

seasons BY EVERETT EVANS

Vivaldi's The Four Seasons is one of those orchestral works that has been heard so often — not just in concert, but

excerpted in countless films, commercials and such — that one might reasonably wonder how it could possibly retain

its freshness.

But the famous set of four violin concertos, each describing a season in three brief movements, is also one of those

works that seems to have captured in music the bubbling vitality of nature — an eternally renewing force.

That quality was apparent in the Houston Symphony's performance Friday night at Jones Hall, with guest conductor

Christoph Campestrini leading an exact yet energized reading, highlighted by the adroit solo violin work of guest artist

Adele Anthony (a last-minute replacement for Benjamin Schmid, who withdrew earlier in the week due to a family

emergency.)

Large screens on either side of the stage supplied lines from the poems Vivaldi created, describing in simple words the

scenes he painted musically in each passage. One certainly recognized such effects as the chirping birdsong in

Anthony's solo line early in the famous opening Allegro of Spring, and the icily stabbing string motifs in the Allegro

non molto of Winter.

Anthony's assertive attack lent definition to her solo line throughout. The warmth and sweetness of her playing shone in

one of the most appealing movements, Winter's Largo, representing a cozy fireside scene, a respite from the frigid

movements framing it.

The Italian-themed program continued after intermission with Mendelssohn's Symphony No. 4 (Italian), inspired by his

travels there.

Showing a more dramatic dash here, Campestrini's conducting brought out the sprightliness and vigor of the opening

movement, the forces nicely balanced. The orchestra's smoothly flowing work conveyed the more subtle appeal of the

two interior movements. Yet it was the dynamic rendering of the Saltarello finale that made it the work's triumph, a

whirlwind of sound that maintained precision despite the dizzying pace.

Though an overture is usually the curtain raiser at such a concert, Verdi's Overture to La Forza del Destino proved the

perfect finish for this one — calling for the evening's largest forces in service of the program's gutsiest music.

From the emphatic brass chords that opened the piece, Campestrini led the musicians in a properly volatile and

expressive rendition. Moving through its compilation of the opera's most memorable themes, there were hauntingly

lyrical passages in the strings and woodwinds, and absolutely regal work from the brass section as the overture built to

its big finish, very nicely realized.

Adele Anthony

South Bend Tribune February 24, 2008

Symphony presents diversity of High Romanticism with superb

performance By ANDREW S. HUGHES

SOUTH BEND — Maestro Tsung Yeh and the South Bend Symphony Orchestra presented three very

different examples of High Romanticism in a superbly played concert Saturday night at the Morris

Performing Arts Center.

Richard Wagner’s “Tannhäuser” Overture opened the concert in dramatic fashion with its summary of

the opera’s plot. The overture began with the gorgeous, majestic tone of the French horns, which imbued

the opening with just a hint of mourning in their delivery. Later, the undulating play of the violins

provided a good tonal and musical contrast underneath the featured trombones.

During the frenzied section of the piece, the flutes, piccolo and oboes shone with bright, exuberant

playing, while the clarinet solo re-introduced the sense of mourning in the piece. As usual, violinist

Zofia Glashauser’s vibrato sounded magnificent during a brief solo passage.

Guest violinist Adele Anthony joined the orchestra for Henryk Wieniawski’s Violin Concerto No. 2 in D

minor, Opus 22.

The concerto began with the mood-setting sweeping, lush Romantic playing of the strings before

Anthony entered with the first of several solos fueled by her precise, crisp playing of fast phrases that

required her left hand to jump all over the neck of her violin.

Spry, joyful playing by Anthony highlighted the first movement’s conclusion, while the brass and winds

provided wonderful color and power to the movement.

The second movement featured a nice contrast between Anthony’s playing and that of the clarinets and

oboes behind her, while throughout this slower movement, Anthony put her vibrato to sustained and

emotional use.

The third movement began with an incredibly fast and crisply played series of phrases by Anthony. Her

playing, however, also was intensely melodic and emotional, not mechanical or a mere demonstration of

technique. Throughout the piece, but particularly in the third movement, her vibrant playing had a sense

of adventure to it that made the concerto a thrilling work to hear.

Anthony’s 1728 Stradivar-ius violin possessed wonderful, rich tone, particularly in the low and middle

registers, but also in the high one, and even with the orchestra playing behind her, Anthony was always

clearly audible.

ADELE ANTHONY

South Bend Tribune February 24, 2008

page 2 of 2

The concert concluded with a powerful performance of Camille Saint-Saëns’ Sym-phony No. 3 in C

minor, Opus 78, “Organ,” with guest organist Craig Cramer, a professor of music at the University of

Notre Dame, and the symphony’s pianist, Vakhtang Kodanashvili and his wife, Natia Shioshvili, at the

piano.

Throughout the first move-ment, Yeh again demonstrated his knack for creating effective dynamics with

his cues for ac-cents from the wind section, in this case, the quick, bold release of power from the full

orchestra, and his seamless movement from one orchestral section to another so that the sound glided

around the stage.

The creeping pizzicato play of the cellos and basses had a stealthy quality to it as the prelude to the

organ’s entrance near the end of the movement. Cramer’s organ provided a deep undertone that

reinforced the melancholy nature of the strings’ vibrato playing during this slow section.

The second movement — there are only two — opened with zestful, playful playing by the wind and

string sec-tions, but Kodanashvili’s playing was barely audible below the full orchestra. The second half

of the movement opened with a big, powerful chord by Cramer on the organ to match the orchestra’s

robust and energetic playing.

Kodanashvili and Shiosh-vili’s playing of the four-hands piano part also was barely audible, but what

came through had a twinkling quality to it that hinted at an in-teresting contrast to the orchestra’s part.

The brass section — tuba and trombones, in particular — and the organ combined for a thunderous

finale to the symphony to bring it — and the concert — to a grand, euphoric conclusion.

Adele Anthony

Intelligencer Journal November 16, 2007

All alone with Bach By REBECCA J. RITZEL

Violinist Adele Anthony prepares for a solo show in Elizabethtown Saturday

ELIZABETHTOWN, Pa - Violinist Adele Anthony rehearses in a small studio at the end of a hallway in her

Upper East Side home.

In recent weeks, she's spent long hours in that studio, plumbing the intricate depths of Bach's solo music for

violin. Because she'll be alone onstage Saturday at Elizabethtown College, readying for this recital is like few

other rehearsal experiences in her career. There's no pianist for her to practice with twice a week, no conductor to

meet 24 hours before playing a concerto.

No, for this recital, she rehearses alone with the music.

That is, until she's interrupted by a knock on the door and a plaintive demands for "Mommy." The cry comes from

Anthony's two-year-old daughter, Ella Mei.

"She's beginning to understand that I can't play with her while I'm rehearsing," Anthony said, laughing softly with

an Australian lilt.

She and her husband, violinist Gil Shaham, take turns playing in the studio and playing with Ella Mei and Elijah,

5. Their marriage is something of a fairy tale match made at Juilliard. He's Israeli, she was born on the island of

Tasmania. Independently, both of these self-effacing prodigies have earned reputations as formidable violinists, at

home in the recital hall or an orchestra stage.

Anthony was just 13 when she won the Australian Broadcasting Corporations' youth music competition. Her

winning performance of Tchaikovsky's Violin Concerto was broadcast across Australia. She's been revered in her

homeland ever since, even after moving to New York in 1987.

Although she's lesser known in the States than her husband, Anthony's professional career is just as impressive on

an international scale. She's a leader in the International Sejong Soloists, the global, conductorless string orchestra

that will present a concert honoring United Nations secretary general Ban Ki-moon next month at Carnegie Hall.

In classical music CD collections, she's often represented by her very fine 2000 Naxos recording of Phillip Glass's

Violin Concerto. She's also recorded works by 20th-century composers Arvo Part and Carl Nielsen.

This season, she's turning back her repertoire 300 years and returning to Bach's six solo sonatas and partitas,

works she learned as a girl studying in Tasmania.

"I was very lucky that I learned them at such a young age," Anthony said. "They are works that you need to grow

up with."

Her husband's teachers didn't share that philosophy — he was well on his way to stardom before he tackled these

landmark works of the violin repertoire. Bach wrote them around 1720, but they weren't published for more than a

century. Reviewing the score in 1805, critic J.F. Reichhardt wrote that the pieces represent "perhaps the greatest

example in any art of the freedom and certainty with which a great master can move even when he is in chains."

ADELE ANTHONY

Intelligencer Journal November 16, 2007

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It's unclear what Reichardt meant by "chains," but to listen to the famous Chaconne that closes Partita No. 2 is to

hear the foreshadowing of every later musical movement, even though Bach wrote the pieces while on staff at an

isolated German court.

"Bach influences a lot of other works," Anthony said. "Playing these sonatas and partitas gives you the

groundwork to play 20th-century music."

She'll perform all six works in a two-recital cycle organized by Gretna Music, the resident chamber series at

Elizabethtown college. Saturday she'll play Sonata No. 2 and partitas 2 and 3. On Feb.2, she'll return to perform

the remaining three pieces.

Rehearsing has been "cleansing," Anthony said. She's enjoyed reconnecting with the works and subtly changing

her interpretation from past performances, picking up the tempo in places and adding slurs in others. This will be

her first all-Bach recital, and she's becoming keenly aware of just how taxing the performance might be.

"I'll need to take a little break after the chaconne," she said.

And has she prepared any Bach banter, just as a band might chat up an audience while tuning?

Well, no.

"The music speaks for itself," she said.

Adele Anthony

Dayton Daily News March 30, 2006

Orchestra finally performs program with Scottish theme

By CAROL SIMMONS

DAYTON | A week after we celebrated all things Irish on St. Patrick's Day, the Dayton Philharmonic

Orchestra on Friday evening journeyed to another part of the United Kingdom: Scotland.

"Scottish Odyssey" was the theme of the orchestra's Classical series concert at the Schuster Center, and

it's a journey that DPO Music Director Neal Gittleman has been wanting to make for a long time. More

than 10 years, to be specific; for the Scottish-themed program was one that Gittleman suggested back

when he was a candidate for the position he now holds with the Philharmonic.

The notion might at first blush sound like a gimmick that's more attuned to fanciful marketing than an

interesting or pleasurable listening experience. But after encountering 10 years of Gittleman's

programming, we know we can trust that there is a musical soundness (no pun intended) to his musical

selections.

And so it was Friday night with the combination of Peter Maxwell Davies' An Orkney Wedding with

Sunrise; Max Bruch's Scottish Fantasy for violin, harp and orchestra; and Felix Mendelssohn's third

published symphony, familiarly known as the "Scottish."

All three works were written by non-native composers who were charmed, delighted and affected by

Scotland's folk music, culture and/or physical landscape. And Friday night's performance succeeded in

passing along those varied responses.

The 19th century German composer Max Bruch is said never to have visited Scotland, yet his interest in

the country's folk melodies was so great that he wrote a concerto-like piece for violin, harp and orchestra

that explores the country's distinctive musical textures.

Guest violinist Adele Anthony blended her instrument's voice with that of the harp - played by our own

Leslie Stratton-Norris - along with the orchestra as a whole, more like a virtuosic member of an

ensemble, than a star soloist.

The concert will be repeated at 8 p.m. tonight. Tickets range from $11 to $58; call 228-3630.

Adele Anthony

Fort Worth Star-Telegram September 16, 2005

Fine Arts Stringing along Violinist Adele Anthony bows in for FWSO season opener By WAYNE LEE GAY

Five years into the 21st century, the 19th century is more popular than ever.

In recent years, Fort Worth music fans have enjoyed orchestral festivals devoted to Mendelssohn, Brahms and

Tchaikovsky; although this year's pre-season Fort Worth Symphony fest ranged through romantic and modern

Hungarian and Czech music, by far the most attention went to the quintessential -- and most beloved -- Czech

composer, Antonin Dvorak.

Less than a month later, the orchestra and music director Miguel Harth-Bedoya once again turn to Dvorak, as

guest artist Adele Anthony appears as violin soloist in Dvorak's Violin Concerto in A minor on the official

opening concert of the new season.

Anthony loves this concerto, which she has known since she was a teen, for the same reasons as generations of

violinists and audiences.

"It's full of beautiful melodies," she says. "And it's beautifully written for violin."

Though the Australian-born, Juilliard-trained Anthony is relatively unknown to Fort Worth audiences, her

husband, famed violinist Gil Shaham, has appeared in the area a number of times through the years. This

weekend's concerts, however, will be Anthony's last performances before she begins an extended sabbatical for

the anticipated arrival of the couple's second child in October.

Like all busy working parents, Shaham and Anthony juggle childcare and work schedules. During the first years

after the birth of their son, Elijah, who is now 3, all three traveled together frequently; one parent stayed at the

hotel while the other rehearsed or performed. At home in their New York apartment, the two busy concert

violinists alternate practice and childcare.

This weekend's all-romantic concert, with Harth-Bedoya conducting, will open with Tchaikovsky's Serenade for

Strings -- a work known to many in Fort Worth as the accompaniment for Balanchine's ballet of the same name.

After the Dvorak concerto and intermission, the orchestra will stay in the romantic era but head to Western

Europe to close with French composer Camille Saint-Saens' Symphony No. 3, an ear-catching orchestral

showpiece nicknamed the "Organ" Symphony because of the flashy organ solos. Southwestern Baptist

Theological Seminary professor Al Travis will be the featured organist.

Adele Anthony

Aspen Times July 12, 2005

Big Beethoven, warm Berg, and Technicolor Shostakovich

By HARVEY STEIMAN

Beethoven's Symphony No. 9 in a lavish benefit performance was the big draw last weekend at the Aspen Music

Festival, but the most satisfying music-making came the next day. Christian Tetzlaff's Berg violin concerto was about as good as it gets, and Michael Stern's borderline rabid traversal of the Shostakovich Symphony No. 10

barely left the roof on the tent.

The Berg concerto is a strange and wonderful beast. It is atonal, but Berg creates romantic sonorities and plush resonances that make the tone rows seem lyrical. Tetzlaff was nothing short of magical, bringing the utmost

delicacy and real romantic feeling to the music. His tone was sweet and warm, the phrasing shaped with the same

care a violinist might lavish on Mendelssohn or Mozart.

Stern was right there with him, drawing a floating cloud of a pianissimo from the Aspen Festival Orchestra when Tetzlaff brought his sound to the quietest of dynamics. Their phrasing was unanimous, rare enough any time,

virtually unheard of in a one-shot festival date. After four curtain calls, Tetzlaff acknowledge his standing ovation

with a remarkable encore, the Largo from Bach's unaccompanied violin sonata in C. It was a heart-stoppingly pure, hushed, time-suspending, you-could-hear-a-pin-drop-in-the-tent moment.

The Shostakovich 10th has its quiet times, too, but inevitably they build into massive fortissimos and crashing

climaxes. Stern corralled this hour-long symphony into a rhythmically potent performance that still gave plenty of space for the strings to let their soft phrases hang in the air. Soloists distinguished themselves all over the stage,

most notably bassoonist Steven Dibner and clarinetist Ted Oien.

Berg and Shostakovich. Who would have thought they would overshadow the Beethoven Ninth? But they did.

The tent was jam-packed Saturday night for "The Ninth on the Ninth," and music director David Zinman drew plenty of energy from the assembled forces of the Aspen Chamber Symphony, the Colorado Symphony Orchestra

Chorus from Denver and an uneven quartet of vocal soloists.

Zinman favors quick tempos, especially in the opening and closing movements. This has an invigorating effect, but it also makes for less of a contrast with the second movement unless the already-fast scherzo goes at a

breakneck clip. Zinman eased up to allow the details of the scherzo to speak. It danced by nimbly and the noble

slow movement maintained its pulse and rich textures, but the opening measures of the symphony came off as

perfunctory. In the finale, the recitative-like statements of the cellos and basses sounded almost like a march, which is hardly what Beethoven intended.

These carpings aside, momentum did gather as Zinman shaped a series of satisfying climaxes. Other than a couple

of croaked high notes, bass Kurt Link set the vocal portion of the finale into motion well. Tenor Vinson Cole and mezzo soprano Susanne Mentzer, both Aspen regulars, made the most impressive contributions to the vocal

quartet. Soprano Hyanah Yu displayed a lovely sound but seemed underpowered for the assignment. The chorus

powered up for some big sounds, even if it missed some of the magic of the quieter moments.

Adele Anthony

Aspen Times July 12, 2005

page 2 of 2

The concert opened with Beethoven's Choral Fantasy, a hybrid work that starts off like it might be a piano

concerto (Joseph Kalichstein played the thankless soloist's role with a few clunkers). Then it morphs into a choral

work, finishing up like an eerie premonition of the Ninth's finale. Its many musical gestures are so similar to the Ninth's that it might have robbed the later piece of its power, if the Ninth were any less of a majestic work than it

is.

This was a busy week for string afiChonados. Even before Tetzlaff, in a three-day span the conductorless 22-

member International Sejong Soloists played in two concerts, the second night backing up the American violinist Cho-Lang Lin in a remarkably lucid account of Vivaldi's The Four Seasons. And finally the Kronos Quartet made

an electric (literally) appearance, offering an international mixed bag of new works and composer Steve Reich's

intensely moving 1988 masterpiece Different Trains. (See Stewart Oksenhorn's review in Monday's Aspen Times.)

The Sejong are audience favorites here. Even with 15 or 20 musicians on stage, they play in preternatural synch,

with the unanimity of style of a string quartet. These attributes were present in abundance in Mahler's transcription for string orchestra of Schubert's string quartet "Death and the Maiden." Tasmanian-born Adele

Anthony, the concert master (mistress?), took the solo turn in Hartmann's Concerto funèbre, a heart-on-sleeve

reflection of what things were like in 1930s Nazi Germany. Anthony produced rich, lush sounds in the low

register, lovely cantilena in the middle and ascended into the highest reaches of the violin's range with accuracy and purity.

On Thursday night's concert in the tent, Cho-Lang Lin opened with a forgettable solo violin work by Esa Pekka

Salonen and then played lively sonatas by Stravinsky and Debussy with Kalichstein before giving over the second half to The Four Seasons.

It's rare to hear a Four Seasons done with such freshness and vitality. It's such a familiar work, dangerously

overexposed, but these musicians played as if they were discovering it for the first time. Delicate accompaniments

in the ensemble violins had an expectant hush that let Lin's solo line emerge naturally. The string playing in Baroque style, minimized vibrato for a bracing effect, despite an occasional difference of opinion on pitch.

Cascades of unison scales ripped by in a flash, every note enunciated as the whirlwind whipped past. Anthony

Newman's harpsichord and cellist Ani Aznavoorian's colorful continuo added further life. Lin played with clarity and style, avoiding any unnecessary flourishes but reveling in those that Vivaldi put there.

In short, this was a Four Seasons that sounded like it ought to, vivid and finely detailed without losing the

essential pulse.

Not to miss this week

Fiddle fanciers should be in paradise, what with Gil Shaham, Joshua Bell, Cho-Lang Lin and Nadia Salerno-

Sonnenburg on the docket. Shaham's "Evening with..." on Thursday promises music of Gershwin, Piazzola and

Prokiev. On Friday, Joshua Bell plays Corigliano's "Red Violin" concerto, which was written for him. On Saturday in Harris Hall, Lin joins pianist Wu Han and her husband, Emerson Quartet cellist David Finckel in a

Harris Hall recital. Salerno-Sonnenburg tackles Barber's seminal American violin concerto on Sunday.

Aspen Opera Theater's first summer production, Janacek's miracle of operatic brevity, The Cunning Little Vixen, plays tonight, Thursday and Saturday at the Wheeler Opera House.

Saturday afternoon's chamber music potpourri in Harris Hall is a tribute to the late Philip West, the much-loved

English horn virtuoso who spent many summers here in Aspen, teaching and playing.

Adele Anthony

The Adelaide Review September 2004

Young, gifted and back BY GRAHAM STRAHLE

TWIN brothers Pei-Jee and Pei-Sian Ng are rapidly maturing into solo artists of the first order. Returning after a year of

studies at the Royal Northern College of Music, Manchester, these two strong young players – still only 20 years old –

have gained impressively in presence and musicianship.

Still difficult to tell apart in terms of ability, Pei-Jee is perhaps the most confidently strong player. He performed

Kabalevsky’s Cello Concerto No 2 with commanding virtuosic power and insight into this work’s bleak melancholia,

showing a level of poised control that one usually only hears in soloists of many years’ experience. No less impressive

in virtuosic accomplishment, Pei-Sian showed more of a singing line, and his rather freer lyrical approach in

Tchaikovsky’s Rococo Variations, which can easily veer towards the showy, gave this work a fresh, whimsical

lightness.

Violinist Adele Anthony is another of Adelaide’s outstanding musical proteges, and it was interesting to hear how she

handled Bartok’s Second Violin Concerto, a work of stark emotional contrasts. To its stern outlines she lent a good

amount of robust power, but she seemed more drawn to the concerto’s quieter, reflective episodes, giving these an

attractive sweet, gentle songfulness. Not often does this sometimes austere work sound so bathed in glowing, melodic

warmth.

Under chief conductor Arvo Volmer, the ASO turned in two magnificent performances, of Richard Strauss’s Don Juan

and Death and Transfiguration. With a brisk tempo, he propelled the first forward with a vivacious energy that by the

end had the main theme soaring aloft with lush, dazzling intensity.

Clearly relishing both works, the ASO achieved that rounded, pearly tone that Strauss so demands.

These were quite the most satisfying performances by the ASO all year and well eclipsed its accounts of Mozart’s

Prague Symphony and Dvorak’s Seventh Symphony under Janos Furst, both of which lacked finesse – strangely, given

Furst’s outstanding work with the ASO in its Brahms Cycle four years ago. Beautiful flute solos by Geoffrey Collins

was the Dvorak’s recompense.

Two of Australia’s brightest music theatre stars, Rachael Beck and Todd McKenney made a great stage match in the

ASO’s Broadway to Hollywood show. That they work well together was evident in last year’s Cabaret, and having

them perform together only confirmed this further, although it did reveal their different sets of skills.

Beck is the class singer in purely vocal terms: in Jennings and Sample’s Fly Away, which culminated a Moulin Rouge

medley, her voice floated gorgeously and effortlessly.

Making better use of the Festival Theatre’s wide stage, McKenney proved an amazing energy-ball of a performer,

though more theatrically oriented than vocally. His medley of numbers from Cabaret was brilliant, but short-winded

singing in Peter Allen’s Honestly Love You left that song a little off the mark.

Tommy Tycho expertly directed a disciplined ASO, whose high quality performances added much to the show’s lustre.

Adele Anthony

The Indianapolis Star July 23, 2004

'Four Seasons' bridges couple’s music-making BY WHITNEY SMITH

Many classical music listeners had probably already heard of violinist Gil Shaham by the mid-1990s, but at the time,

the Weather Channel helped spread the word by broadcasting his recording of "Winter" from Vivaldi's "The Four

Seasons."

Almost a decade later, Adele Anthony is taking up the same piece this week, while she makes her Indianapolis

Symphony Orchestra debut. As Shaham's wife, Anthony has traveled to the Hoosier capital before, when he had local

engagements. But this time, the spotlight will be hers.

Anthony, 33, who grew up in Australia, said "The Four Seasons" is hard to beat for painting pictures of nature.

"There's an impression that, because Vivaldi wrote over 400 concertos for the violin, a lot of them are kind of the

same," Anthony said of the music she will play tonight and Saturday night at Conner Prairie. "I think 'The Four

Seasons' really does stand out. . . . First of all, it's very programmatic with poems that go along. . . . If you follow the

poems with music, it's really descriptive. It's amazing, how he evoked thunder, lightning, insects -- even a dog

barking."

Anthony said that when she studies the score, she gets a kick out of notations that refer to images such as "a bird

calling" or "the wind whistling through the fields."

The violinist has performed the four interconnected Vivaldi concertos before with this week's Symphony on the Prairie

conductor, Neal Gittleman, music director of the Dayton Philharmonic Orchestra. That was about six years ago in

Milwaukee. Anthony is not as well known as her husband, but her career is equally diverse. She has recorded the Philip

Glass Violin Concerto and will play it in Denmark next season. She collaborates with Shaham on Canary, their own

firm, which releases records on the Artemis label.

The couple live in Manhattan with their son, Elijah Shaham. In an interview with The Star last March, Gil Shaham said

Elijah had no choice but to hear lots of music:

"This poor child! He's been hearing violin music, really since the womb. For a while after he was born, he showed great

interest in our violins, but it seemed to be mostly dangerous in that he was interested in chewing them."