VeronikaEberle

Press

• New York Philharmonic

  David Geffen Hall

  Feb 2025

  • Eberle has tremendous facility; there were times during her performance that I had to remind myself that playing the violin is difficult! ...in the long cadenza-like passages that begin the Allegro–Adagio, she pulled the orchestra into her wake and continued on through the Bach Chorale quotes to the end of the piece with something important to say.

    • Bachtrack

  • Soloist Eberle began the work with exploratory arpeggios that blossomed into a full yet silvery tone, as conductor Canellakis sculpted an orchestral sound rich in woodwinds, horns and tuba. Youth’s defiance of gravity was evident in the dancing folk tune that closed the concerto’s first part. This idyllic scene made the explosion of grief that opened the second part all the more shocking. The violinist responded with cadenza-like passages, slashing and marcato at first, later more tender and flecked with left-hand pizzicato.

    • New York Classical Review

• Kölner Kammerorchester

  Philharmonie Cologne

  Jan 2025

  • Eberle had already shone in two other Bach concertos (BWV1060 and 1042), with crystal-clear and at the same time intimate tones with little vibrato, with highly musically phrased instrumental-vocal lines...

    • Kölner Stadtanzeiger

• Beethoven Violin Concerto

  Marvao International Music Festival

  Jul 2024

  • When Eberle entered with her opening solo, rich in colors yet simple in line, her intimately reflective attitude shone through. Eberle’s dialogue with the bassoons in thirds was intense and lapidary, her sense of quiet before the big striding triplets was deeply affecting and her triplets against the long lines of the strings were captivating. She navigated Fritz Kreisler’s cadenza with finesse, toning down the pyrotechnics in favor of warmth and sentiment, as if it had been written by Beethoven himself. She played the big arching passages exquisitely and the cadenza was spontaneous, after which she had a special sweetness left for her last upward phrases before Poppen and the orchestra ended with a tremendous shout, and the grandeur of the whole performance was complete.

    • Seen and Heard International
    • 20 July 2024

• BRSO and Sir Simon Rattle

  Munich Herkulessaal

  Jan 2024

  • the great soloist Veronika Eberle on the violin takes the music absolutely seriously and does not play at all in order to showcase her own, undoubtedly very great, virtuosity. Rather, she has retained - even in this iconic work - something researching and not very established, which fits the approach and purpose of the entire evening very well: looking beyond one's own horizon, helping, noticing fellow human beings who need help and standing up for society !

    • Suddeutsche Zeitung
    • 27 January 2024

• Korngold Violin Concerto in D Major

  Rosengarten, Mannheim

  Jun 2023

  • In this neck-and-finger-breaking virtuoso piece ... [Eberle] shone with astonishing bravura, highly refined musicality, creative presence and a violin tone of exquisite beauty.

    • Die Rheinpflaz
    • 06 June 2023

• Beethoven Violin Concerto in C

  London Symphony Orchestra with Sir Simon Rattle

  Mar 2022

  • Veronika Eberle brings a spotlessly pure and serene tone to her Beethoven playing, as I recall from a memorably spacious account of the D major Concerto which she gave with Rattle six years ago...Still hand in glove in their approach, Eberle and Rattle brought a numbed stillness to the Largo, into which Widmann’s uncanny, ethereal cadenza dovetailed quite naturally, developing into a dialogue with the LSO’s leader...When the LSO Live album of the concert appears, it should make for essential listening.

    • The Strad
    • 21 June 2022

• Berg Violin Concerto

  Deutsches Symphonie-Orchester Berlin with Robin Ticciati

  Mar 2023

  • Die deutsche Violinistin Veronika Eberle gelangt in ihrem ernsthaften Zugang zur innigen Deutung von Bergs Musik. Neben wie selbstverständlicher, technischer Brillanz, betört der dunkel singende Geigenton, der doch flexibel bleibt. In nebulöser Eleganz, sich aller Obszönität enthaltend, fusionieren Orchester und Solovioline im symbiotischen Musizieren.

    • Taggespiegel
    • 27 March 2023

• Mozart and Hosokawa

  Hong Kong Sinfonietta

  Oct 2023

  • Mozart’s much loved Violin Concerto No 3 ... proved a veritable celebration in G major that was laden with subtlety and tonal refinement in her solo part. Eberle’s playing in the opening Allegro was joyous, spurring plenty of convivial musical conversation with the Sinfonietta players. Returning to the stage, the German soloist immersed herself in this new world of sound [Hosokawa] with deep conviction. Eberle’s playing aptly blossomed as life (the violin) emerged. Where more urgency and extended technique came into play, Eberle’s playing was ever assured.

    • South China Morning Post