AubreeOliverson

Press

• Tchaikovsky, Violin Concerto

  Orquesta Sinfonica de Navarra

  Oct 2023

  • Violinist Aubree Oliverson not only exhibited the supreme technique necessary for Tachikovsky's devilish concerto, but had moments of sensitivity and preciousness in the calm intervals of the stress of virtuosity that predominates. Soon the triple strings, extreme intervals, dotted rhythms, arpeggios, trills emerge... And the American soloist shows excellent tuning and that peace of mind for the audience that something that is known to be so difficult, turns out to be easy.

    • Noticias de Navarra
    • 22 October 2023

• Barber, Violin Concerto

  Abravanel Hall

  Sep 2023

  • Oliverson had a clear idea of how each phrase fit into the overall architecture of the piece, and how to bring her vision to life with her careful phrasing, articulation, and dynamics. The soloist commanded attention from the opening runs of the first movement, to which she lent a seamless grace and flawless technique. Her tone was authoritative and matched her bold phrasing. The technically difficult Moto perpetuo finale showcased not only Oliverson’s technique but her musicality, as she and the orchestra built to a breathtaking finish.

    • Utah Arts Review
    • 16 September 2023

• CPE Bach, Flute Concerto iin D minor. Arr. Aubree Oliverson

  El Camino College Campus Theatre, Torrance

  May 2023

  • The flute-turned-violin concerto (in D minor, H.484.1/Wq. 22) was a highlight of the program. Violin soloist Aubree Oliverson transcribed the flute part herself and played it from memory, her focused tone projecting well... The energetic last movement frothed to a moody finish, coordinated nicely between soloist and orchestra, that got the audience on its feet with applause.

    • Classical Voice
    • 30 May 2023

• Weinberg, Concertino for Violin and String Orchestra

  Merkin Hall, NYC

  Feb 2023

  • Aubree Oliverson played the Concertino for all it is worth, capturing its varied moods with passion, fire, tenderness and sorrow. Her collaboration with Niederhoffer and the Parlando musicians was natural and dedicated.

    • New York Classical Review
    • 28 February 2023

• Tchaikovsky, Violin Concerto

  Princeton Symphony Orchestra, New Jersey

  Sep 2024

  • The Utah native is a rising star of classical music but there is very little artifice or affectation in her manner. She is naturalistic and expressive, and she and Milanov were united in this similar vision and performance style. Even at the swiftest moments of the virtuosic cadenza, Oliverson led with strong rhythms, effective accelerations and tricky articulations. Some wiry attacks and incredibly high string playing enlivened the second theme with an electrifying piquancy. Variations were captivating and had a sense of spontaneity, yet showed restraint and intensity. (During her encore, a caprice by Mark O’Connor, she had great fun with the work’s intricate folk rhythms and techniques through improvisational fiddling and coloristic effects.)

    • NJArts.net
    • 17 September 2024

  • The three-movement Concerto was deemed unplayable by its original intended soloist, but Oliverson has felt a special connection to the piece since youth and had no trouble grasping the music’s seemingly impossible technical demands and emotional character. The most virtuosic passages were in the third movement “Finale,” but throughout the piece, Oliverson displayed confidence in the fast-moving lines and finesse on the repeated melodies. Milanov launched the closing “Finale” with power as Oliverson maneuvered her way through what previous violinists had apparently characterized as “unplayable.” In Oliverson’s hands, the improvisatory and virtuosic refrains of the final movement were expertly executed, with Oliverson always finding variety within each repetition.

    • Town Topics
    • 18 September 2024

  • Throughout the performance Oliverson's rendition was not only delicate, but also expressive and emotional to such a degree that it brought audience members to their feet in a sustained standing ovation. For her encore, Oliverson played "Caprices," one of six Mark O'Connor compositions by this name, which caused her to push her violin in a radical new direction both musically and technically, highlighting her outstanding ability in diverse genres.

    • Tap into Princeton
    • 17 September 2024