“A spectacular debut” with the BBC Scottish Symphony Orchestra

February 2020

“Karen Gomyo, making a spectacular debut with the BBC Scottish Symphony Orchestra, managed it triumphantly.

The opening lament poured out of her in an unbroken wave of controlled energy, concentrated and intense, and she pirouetted her way through the ghoulish jig of the Scherzo as though performing a high-wire act. Her cadenza, coming out of darkly controlled Passacaglia, was unblinkingly focused, leading into a finale of white hot mania.”

– The Times (17th Feb. 2020)

Review: The Scotsman

“A Violinist in the Circus” – Karen Gomyo makes New Year’s Eve debut with DSO Berlin

December 2019

Making her debut with Deutsches Symphonie Orchester Berlin, Karen Gomyo brought in the New Year alongside Cristian Macelaru and the Roncalli Circus.

Alongside the circus, Karen performed pieces by Astor Piazzolla: Libertango; Fritz Kreisler: Liebesleid; and Niccolò Paganini: Il carnevale di Venezia.

Article: Berliner Morgenpost

Karen Gomyo debuts with Philharmonia Orchestra in London

May 2019

Karen Gomyo simultaneously made her Philharmonia Orchestra and Royal Festival Hall debuts performing the Mendelssohn Violin Concerto under the baton of frequent collaborator Jakub Hrůša.

Karen Gomyo makes BBC Symphony Orchestra debut in Dubai

March 2019

BBC Proms Dubai 2019 saw Karen Gomyo perform Tchaikovsky’s violin concerto, with the BBC Symphony Orchestra and the fast-rising British conductor Ben Gernon.

Karen Gomyo signs with CM Artists New York

January 2019

Linda Marder of CM Artists New York has this week announced the signing of Karen Gomyo to her roster for North American representation – effective immediately. Etta Morgan of Askonas Holt in London continues to represent Karen in Europe, Australasia & Asia.

A “heroic, undaunted performance” in San Francisco Symphony debut

November 2018 - San Francisco Chronicle

A performance of Shostakovich’s First Violin Concerto is nothing to take lightly, either for the performers or the audience. The music digs in deep, across four weighty movements and one of the composer’s trademark massive cadenzas for the soloist, and there are challenges for everyone involved.

In her impressive showing with the San Francisco Symphony on Thursday, Nov. 8 in Davies Symphony Hall, violinist Karen Gomyo didn’t insult our intelligence by making the thing seem easy. On the contrary — she matched the composer step for demanding step, producing a rendition that gleamed with the sweat of honest labor.

Together with guest conductor Jakub Hrusa, Gomyo — a Japanese-born virtuoso who now lives in Berlin — dived into Shostakovich’s showpiece with an obvious respect for both the technical and interpretive difficulties ahead. The combination of craggy rhetoric, capacious formal scale and sheer finger-busting passagework that infuses this concerto means that anyone can go astray at any moment.

Yet, by the time the piece drew to a close nearly 40 minutes later, Gomyo and Hrusa in partnership had conferred an air of triumph on the proceedings. Shostakovich’s expansive lines of thought, which can often seem discursive and even meandering in the wrong hands, emerged here with a welcome sense of formal tautness; the composer’s acrid sensibilities sounded inviting without losing their essential character.

Gomyo’s playing boasts a bold, steely beauty, which at least in this context made few concessions to traditional notions of lyricism or expressive warmth. (Her encore, a lovely account of the fourth of Astor Piazzolla’s “Six Tango Etudes,” offered a more overtly empathetic voice, though even here she made sure to keep the rhythms crisp and muscular.)

In the concerto’s broad opening movement, which the composer labeled “Nocturne,” Gomyo spun out long-breathed melodies with unflinching forthrightness, as if encouraging the listener to revel in the music’s dark, sinewy textures. The bustling scherzo — equally dark, even more corrosive — got a ferocious, precise reading.

But the glory of the performance came in the robust third-movement Passacaglia, which is also the concerto’s center of gravity. In this succession of variations on a theme, Gomyo brought out one character of the music after another, engaging in eloquent counterpoint with other members of the orchestra, delivering the solo part with insight and tact, and finally settling in to give a bravura account of the huge solo cadenza.

Gomyo premieres Adams Chamber Concerto in Chicago

May 2018

Karen Gomyo performed the world premiere of Samuel Adams’ new Chamber Concerto, with the Chicago Symphony Orchestra and Esa-Pekka Salonen, to great critical acclaim. The work was written for her and commissioned by the CSO to celebrate the 20th anniversary of its MusicNow series.

Review: Chicago Tribune

Review: Chicago Classical Review

Review: Classical Voice America

New General Management (Europe, Asia & Australasia)

June 2017

Karen Gomyo is delighted to announce the appointment of Askonas Holt as her new management partner for Europe and Asia. Askonas Holt is one of the world’s leading arts management companies, specialising in the field of classical music.

Official Release: Askonas Holt