Reviews
New York Concert Reviews
“A phenomenal young violinist and recent prize winner, Hannah White then took the stage to blaze her way through the only true novelty of the evening,” “His work carries figurations from Bach, with important mixtures of flamenco and even Tzigane (gypsy) thrown in. White commanded every bit of the work, with perfect intonation, technique, flair, swing: in short, everything one could ask from a violinist, of any age.”
Cleveland.com
“Praising talented youngsters is one thing. Actually giving them the stage is quite another. This year’s honoree was Hannah White, and she deserved the opportunity. The 16-year-old violinist clinched her Severance Hall debut, turning in a razor-sharp account of the Introduction and Rondo Capriccioso by Saint-Saens. White’s future is bright indeed”
ClassicalVoiceNorthCarolina.org
“This was a bravura performance by Hannah White, a stunning violinist who has won a drawer of awards,” “The composition was designed to be a showcase for technique, and not a profound exploration of spirituality or whatnot. However, it showed what this brilliant musician can do to good effect. I’m sure we will be hearing much more from White over the next few decades.”
New York Times
Kansas City Metropolis
“…violinist Hannah White… a dazzling solo work filled with all manners of string techniques…she progressed through the dizzying work and extensive double stop passages were pristine”
Richmond Times
“Hannah White… blazed through the technical snares”
Cornell Daily Sun
“…violinist Hannah White… rent the cloth of expectation with her incisive rendition…whose maze of sudden key changes and knuckle-busting double stops resolved into a linear path at White’s fingertips. The music itself indebted to Paganini and, by extension, Bach – was a treat to hear live and proved a studied choice on the part of its performer.
Minnesota Theater Love Classical Catch-Up
“…as amazing as it was to watch and hear Ms. White play”
Chicago Splash
“…delightful introduction… Hannah White brought smiles and chuckles to the audience… White was carried aloft, with legs crossed, by 3 male dancers, set down, handed her violin and bow and bowed to. She nodded to her attendants, instructing them to be off – and dance. … virtuosic… created a seamless, fluid work which showcased both this violin prodigy and the smooth technique of the six dancers.”
Oregon Artswatch
“Mesa’s was a virtuoso performance, as was Hannah White’s fast fingered violin handiwork.”
Classical Music.com
“eliciting urgent and heartfelt playing, and revealing unexpected colours and dense textures…deeply expressive playing.”
Seen and Heard International
“Joined by Hannah White on violin, Foley brings these two instruments of opposite register as close together, sonorously, as possible… the two players passed catchy motifs back and forth with a jazz-like flare with abandoning a classical style. In these turbulent times, perhaps music can demonstrate how polar opposites can find their nearest meeting points and create something electrifying.”
Violinist.com
“Seriousness gave way to levity as bassist Xavier Foley and violinist Hannah White came to the stage… the work’s inherent joy and spontaneity, and White’s effortlessness made her the perfect partner on this witty journey filled with call-and-response imitation and improvisatory surprise.”
Concerto.net
“Hannah White…The other non-ensemble piece was for – get this – violin and double-bass… Xavier Foley, An Ode to Our Times could have been titled “Utter Unity in Delicious Diverstity”, for both instruments blended, imitated, became mutually involved… had a radiance.”
Orartswatch.org
“rhythmic propulsion finally got a chance to cut loose… blistering performance propelled the band through the piece’s occasional langours, ending the first half on a joyous note… clearly thoroughly rehearsed performance, it worked just fine as a capper on one of the most enjoyable, well-played and involving concerts I’ve attended all year. It toppled another common barrier to classical music enjoyment: dull, insufficiently rehearsed performance.”
InDaily.com.au
“memorable…Chineke’s sound is big and full of expression…refreshing and joyful – I’ve never heard quite so much delighted laughter at a concert such as this before.”
ArtMag.co.uk
“skilled…It’s a hypnotic, spine-tingling performance which grips the audience…rousing the audience to a standing ovation…Again, the punchy, intense finale brings the audience to their feet.”
Artshub.com.au 4.1.22
“I have never jumped to my feet as quickly as I did at the Adelaide Festival… Chineke! Chamber Ensemble… magnificent… great…”
Limelight Music, Arts, & Culture
***** 5 Star Review
“Chineke! Gave a triumphant performance”
VoxCarnyx.com
“mesmerizing, evocatively nostalgic…delivered and invigorating performance, with gritty, witty interplay and capturing the high drama”
Artshub.com.au 3.22.22
***** 5 Star Review
“A superb display of the immense appeal of chamber music from a unique British ensemble”
TheArtsDesk.com
“breath of fresh air…great”
Scotsman.com
“wholly invigorated…proved a transformative conclusion.”