19 April 2019
In 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.a
Lynn Walker, The Guardian
19 April 2019
Karen Gomyo tackled the challenging concerto with remarkable technical ease and, more impressive still, a kind of radiant phrasing. Her tone was sweet, but never saccharine. She spun out melodic lines with the beauty and insight of a poet; her pianissimos in the Adagio were ravishing. The rougher side of the music did not go short-changed; she dug in mightily and grittily as needed. The violinist’s stirring work was matched by Kalmar and the BSO; the performance clicked tightly. A vociferous response from the audience drew an encore from Gomyo.
Tim Smith, The Baltimore Sun
19 April 2019
Karen Gomyo was the dazzling soloist in the Mozart G major Violin Concerto (K.216). Playing a Stradivarius of ravishing beauty, she gave not the usual well-behaved summary, but a highly dramatized, even operatic account. This was playing of flawless technique and great sophistication, and Herbig coaxed buoyant, vividly characterized collaboration from a chamber-orchestra reduction of the DSO.
Scott Cantrell, The Dallas Morning News
19 April 2019
New to the roster were Ukrainian conductor Kirill Karabits and Canadian violinist Karen Gomyo. Mark well their names because you are going to hear a lot more from these gifted young musicians in the coming years. …Gomyo is a first-rate artist of real musical command. Her probing account of the...
New to the roster were Ukrainian conductor Kirill Karabits and Canadian violinist Karen Gomyo. Mark well their names because you are going to hear a lot more from these gifted young musicians in the coming years. …Gomyo is a first-rate artist of real musical command. Her probing account of the Shostakovich concerto carried tremendous vitality, brilliance and intensity.
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John Von Rhein, The Chicago Tribune
19 April 2019
The orchestral music in “The Lark Ascending” rarely rises above a whisper, but the solo violin soars gracefully and benefits greatly from a rich acoustic ambience. Karen Gomyo used that to her benefit, and the music’s, in a sweet-toned, beautifully shaped performance. Nullam gravida venenatis gravida. Vestibulum imperdiet felis fringilla...
The orchestral music in “The Lark Ascending” rarely rises above a whisper, but the solo violin soars gracefully and benefits greatly from a rich acoustic ambience. Karen Gomyo used that to her benefit, and the music’s, in a sweet-toned, beautifully shaped performance.
Nullam gravida venenatis gravida. Vestibulum imperdiet felis fringilla finibus interdum. Nam aliquet dictum tristique. Sed nunc sapien, pellentesque a metus in, dapibus malesuada turpis. Fusce gravida volutpat ullamcorper. Nulla facilisi. In auctor in ex ut ultricies. Curabitur id lacus imperdiet, dignissim dui sit amet, accumsan magna.
Cras blandit neque ac orci maximus sagittis. Fusce non erat elementum, mattis nulla ut, condimentum nisl. Ut mollis rutrum ipsum et sagittis. Suspendisse potenti. Maecenas pulvinar, justo eu viverra cursus, enim risus aliquam erat, non scelerisque urna velit ut velit. Pellentesque eu diam aliquam, elementum ipsum ut, scelerisque eros. Aliquam pretium fringilla orci, ut congue arcu ultricies quis. Pellentesque fringilla, erat eget ultricies tempor, felis tellus accumsan sem, a placerat risus nisl ullamcorper risus. Pellentesque vitae ornare dui.
Allan Kozinn, The New York Times
19 April 2019
Sharing the stage with the exceptional young violinist, Karen Gomyo, who gave a vivid performance that was full of interesting detail as well as a sense of drama. Some moments were downright spine-tingling.
Olin Chism, The Dallas Morning News
19 April 2019
These two works framed a performance of Lalo’s Symphonie Espagnole in which the violin soloist was the Canadian Karen Gomyo. She succeeded in balancing the flamboyance of the score with its moments of quiet lyricism. Like Zhang, she is certainly an artist to watch. Nullam gravida venenatis gravida. Vestibulum imperdiet...
These two works framed a performance of Lalo’s Symphonie Espagnole in which the violin soloist was the Canadian Karen Gomyo. She succeeded in balancing the flamboyance of the score with its moments of quiet lyricism. Like Zhang, she is certainly an artist to watch.
Nullam gravida venenatis gravida. Vestibulum imperdiet felis fringilla finibus interdum. Nam aliquet dictum tristique. Sed nunc sapien, pellentesque a metus in, dapibus malesuada turpis. Fusce gravida volutpat ullamcorper. Nulla facilisi. In auctor in ex ut ultricies. Curabitur id lacus imperdiet, dignissim dui sit amet, accumsan magna.
Cras blandit neque ac orci maximus sagittis. Fusce non erat elementum, mattis nulla ut, condimentum nisl. Ut mollis rutrum ipsum et sagittis. Suspendisse potenti. Maecenas pulvinar, justo eu viverra cursus, enim risus aliquam erat, non scelerisque urna velit ut velit. Pellentesque eu diam aliquam, elementum ipsum ut, scelerisque eros. Aliquam pretium fringilla orci, ut congue arcu ultricies quis. Pellentesque fringilla, erat eget ultricies tempor, felis tellus accumsan sem, a placerat risus nisl ullamcorper risus. Pellentesque vitae ornare dui.
Rian Evans, The Guardian
19 April 2019
The superb young violinist Karen Gomyo, his soloist in the Mendelssohn, summarily banished any such misbegotten notions with her deeply serious, temperamental and just plain gorgeous account of the solo part. Possibly the last great talent to come under the influence of Dorothy DeLay, she had the measure of the...
The superb young violinist Karen Gomyo, his soloist in the Mendelssohn, summarily banished any such misbegotten notions with her deeply serious, temperamental and just plain gorgeous account of the solo part. Possibly the last great talent to come under the influence of Dorothy DeLay, she had the measure of the Mendelssohn concerto, both in its detail and in the large. She played it at its own level of lyricism and fiery invention, but always with a clear sense of the music’s rhythmic pulse and sonic perspectives.
Nullam gravida venenatis gravida. Vestibulum imperdiet felis fringilla finibus interdum. Nam aliquet dictum tristique. Sed nunc sapien, pellentesque a metus in, dapibus malesuada turpis. Fusce gravida volutpat ullamcorper. Nulla facilisi. In auctor in ex ut ultricies. Curabitur id lacus imperdiet, dignissim dui sit amet, accumsan magna.
Cras blandit neque ac orci maximus sagittis. Fusce non erat elementum, mattis nulla ut, condimentum nisl. Ut mollis rutrum ipsum et sagittis. Suspendisse potenti. Maecenas pulvinar, justo eu viverra cursus, enim risus aliquam erat, non scelerisque urna velit ut velit. Pellentesque eu diam aliquam, elementum ipsum ut, scelerisque eros. Aliquam pretium fringilla orci, ut congue arcu ultricies quis. Pellentesque fringilla, erat eget ultricies tempor, felis tellus accumsan sem, a placerat risus nisl ullamcorper risus. Pellentesque vitae ornare dui.
Ken Winters, The Globe and Mail
19 April 2019
The young Canadian violinist Karen Gomyo showed herself more than capable of taking the lead in this short but well-crafted concerto. She was unfailingly persuasive, with an unforced natural expressiveness and warmth. From perilous harmonics, gravelly double-stops and dramatic left-hand pizzicatos to her snatch of balalaika-like dance, Gomyo displayed a remarkable musicianship.
Lynn Walker, The Guardian