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...Russian-born Austrian violinist Yury Revich, also in his twenties, brought an engaging freshness to Mendelsohn’s evergreen Violin Concerto in E minor. The characterful phrasing and sweetness of tone coaxed from his 1709 Stradivarius were the hallmarks of a mesmerising performance that delighted a full house. For his encore, Revich dazzled the audience with some violin pyrotechnics by Fritz Kreisler.
- Wharfedale Observer
The second piece brings to the stage Yury Revich, the Russian-born, Austrian violinist, for Mendelssohn’s ‘Violin Concerto in E minor, Op 64’. Revich has won all manner of awards in his relatively short career and showed why; owning the stage and giving a virtuoso performance on a 1709 Stradivarius in a concerto that involves the violin almost from the off. Unlike the opening piece, Mendelssohn’s work has garnered huge critical claim to this day, and is regarded as one that all budding concert violinists need to master. And master it Revich certainly does. His bravura playing of the violin even distracted one away from his particularly impressive and sparkling pair of shoes, which from where I was sitting that took some doing. While the piece seems at first to have many of the hallmarks of a traditional concerto, Mendelssohn produced a work of deep complexity and originality, and one that involves the soloist for the vast majority of it. Revich excels in the piece, leaving conductor Duncan Ward (top image) with his work cut out to keep the pace so intense until the wonderful climax.
Paganini was himself a violin virtuoso and his famed compositions for the instrument, devised to showcase his own abilities as a soloist, have long been central to the repertoire of aspiring soloists of the European schools. The weekend concert was the first of two devoted to Paganini’s six violin concertos, with each work featuring a different soloist.
Yury Revich was the first to accompany maestro Marciano to the stage, for Paganini’s Violin Concerto No 5. Resplendent in razor-thin outfit and sparkling footwear, Revich (born in 1991) stood in for a hipster demographic that was more evident onstage than in the terraces of Emile Bustani Auditorium.
His presence oscillated from amiable to intense. During the work’s orchestral bits, he nodded his head left and right, smiling into the audience. When taking up his instrument, he was a taut string.
Whether accompanied by ABFAO or during one of the show-stopping solo opportunities festooning Paganini’s work, Revich’s face transformed to a mask of concentration, his bow work and fingerboard pizzicato fiery and precise.
His passion seems to have peaked near the end of the concerto’s first movement when, upon completing a particularly exhausting-looking sequence, his head and arms were thrown back in a pantomime embrace, as if compelled by an explosion.
Revich was the only soloist to stray from the evening’s all-Paganini, all-Italy playlist. When the No. 5 was done, the hall fell into a swoon of applause that continued until Marciano and Revich returned for an encore. Addressing the audience for the first time, the soloist remarked how pleased he was to have a chance to return to Al Bustan to perform Paganini. With something like a shrug, he then declared he’d do some Bach. The concert’s Baroque moment, the Gavotte en Rondeau from Bach’s Partita No. 3, BWV 1006, shimmered as brightly as the Paganini.
Every few generations or so a violinist appears who is so prodigiously gifted they immediately rise to become the brightest star in an already dazzling firmament. Tartini, Sarasate, Paganini, Kreisler, Oistrakh and Menuhin all left an indelible mark in the history of virtuoso violin playing. With a flawless technique, innate musicality, insightful interpretative skills and a palpable passion for performing, Yury Revich is surely destined to join the ranks of his illustrious predecessors.
Die Töne, die Revich seiner ‘Princess Aurora’ entlockt, sind einfach himmlisch, denn sein hochsensibles und stets von einem ernsthaften Ansatz geleitetes Interpretieren profitiert von diesem warmen, aufblühenden und sonoren Klang, der Revich heute schon zu einem der ganzen großen Geiger unserer Zeit macht und Vergleiche mit den Größten erlaubt
Vivaldi: Le Quattro Staggione; Revich has not only all the requisite virtuosic technical skills but a passion in his playing which reveals both innate artistry and profound musicality. Jonathan Sutherland, Bachtrack
Piazzolla: Four Seasons of Buenos Aires; The intensely lyrical “Invierno Porteño” was beautifully played with judicious use of vibrato, a warm cello-ish timbre and exceptional phrasing. Jonathan Sutherland, Bachtrack
Revich schloss auch den insgesamt recht aufschlussreichen Gesprachskonzertabend mit Zigeunerweisen von Sarasate wirkungsvoll ab und sicherte sich so entsprechenden Beifall; auch von Liana Issakadze selbst
The first concert by RNO and Pletnev in Saratov, featured young soloists - violinist Yury Revich, at 13 barely taller than the orchestra's music stands in a tuneful, lightweight concerto by arch-conservative Soviet composer Kabelevsky, played with secure technique and surprising confidence
Really shocked the audience young violinist Yury Revich. In his performance of "Basque Capriccio" Sarasate sounded drama, passion and courageous rigor. Brilliant playing a young performer, once again proved that in the world of music maturity comes not with age, and responds to the depth of feelings
The Hungarian Bolero performed by 8-year-old Yury Revich, representing the International Charitable Fund of Vladimir Spivakov, plunged all the guests into a state of stupor with delight
This is certainly an enriching manner to discover music from the cousins Andreas and Bernhard Romberg. While the orchestra’s playing could be a bit more dynamic, the soloists are impressive, Yuri Revich certainly more that Lionel Cottet, since this young Russian virtuoso shows in the Concerto as well as in the Sonata a highly developed and responsible musicality.
He is definitely a musician to be watched out.
Yury Revich subdued the public with "Gypsy Airs" by Sarasate. At intermission, viewers were not given passes to Yuri-shook had, thanked and asked to leave the autograph on the program ...
Corriere della Sera about La Scala debut. Nel Concerto per violino di Ciajkovskij, il solista, Yury Revich, 22 anni, la induce a toni più sfumati: lega i due temi del primo Allegro come pagine di un unico diario interiore, il canto pallido e puro che si prolunga nel dolente sol minore della Canzonetta; leggero e volante anche nel funambolico bis, Recitativo e Scherzo-Caprice di Fritz Kreisler.
...especially refined and supple playing of Yury Revich...
...full-blooded authority, fleet-fingered dexterity, innate musicality and substantial accuracy…
He's only in his early twenties, but is already regarded as a young Paganini. This is the violinist Yury Revich
...and public was touched by sincerety and musicality of Yury Revich.
...Yury Revich's persuasive reading of Andreas's grave yet agile Sonata No 3 for solo violin...