Talk:Solati Trio

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Reception[edit]

Note I have removed this section from the article, firstly because it is not properly referenced. The quotes are also "cherry-picked" (all favourable snippets) which is suitable for advertising or publicity blurbs but not an encyclopedia article. Some of them may be selectively restored and contextualised if and when they have accurate citations with full bibliographic information, but not just as a simple list of decontextualised "praise". Voceditenore (talk) 16:49, 27 November 2012 (UTC)[reply]

"...the Solati Trio played with superb emotional rapport and truly accomplished technique and these three offered one of the finest evenings of chamber music that we have heard in a long time..." The Evening Citizen Laconia, New Hampshire

"...the Solati Trio brings the highest level of music making and personal commitment to any endeavor that they undertake and they are without reservation outstanding performers." Boris Goldovsky

"The trio performed with consummate taste, giving the music dignity, passion, and great depth of feeling." Vineyard Gazette Martha's Vineyard Massachusetts.

"The Challenging work of William Mathias allowed all three musicians to shine. Cellist Hrant Tatian was lyrical as he coaxed every emotion from his instrument...The Lento movement was heartbreaking, with exotic melody and stark bow technique by Herman that left the listener troubled, conflicted, and almost in despair. Her artistry in the ending of this movement provided the emotional climax of the afternoon...The trio returned after intermission for Mendelssohn's Trio in C minor...Lifson's mastery of the piano recalled Mendelssohn's dramatic organ sonatas in which the performer was given dozens of ranks of pipes for expression. With only 88 keys, 10 fingers, and her extraordinary imagination and musicianship, she made the piano challenge the organ for the title of Kind of Instruments." Marblehead Reporter

"So there was everything required for a top-notch morality play: the victimized instruments, the villain Shostakovich, and the musicians as the innocents through whom the villain attacks the stringed victims by treating them like drums. Sitting there in the front row, close enough to feel the emotions of the violinist herself, I was moved." The Providence Journal-Bulletin

"...despite the built-in problems of this work, the performers rendered it with conviction and all the expressiveness the notes will bear, receiving a well-deserved standing ovation and three curtain calls from their small but appreciative audience." Evening Citizen. Laconia, N.H.