Reviews

	"...the highlight of the concert appears: the world premiere of Michael Pepa’s “ISOMORPHE” for mezzo-soprano, violin, accordion, and ensemble (2008). The soloists are outstanding. Lynn Kuo’s violin is dramatic, both rousing and melancholy..." Stanley Fefferman, showtimemagazine.ca For the full review, click here. "I can't imagine my Sonata being better played than it was with Lynn Kuo and Gregory Oh." Elizabeth Raum, composer Lynn Kuo A Great Surprise.. Friday The 13th Is Supposed To Be Unlucky...... Submitted by Louise Daymond, Editor of Pinawa Life Pinawa, Manitoba The following review can be found in Vol.11 Issue 8 Friday the 13th is supposed to be unlucky, but it bode well for members of EMCA's audience Friday night. I won't try to hide it; I wasn't looking forward to the concert, classical violinist Lynn Kuo. How boring could that be, I thought. I literally left the house at the last possible minute, and would have been even later if my eleven year old grandson hadn't decided to come along. I don't know what his expectations were, but I do know we were both blown away by Lynn Kuo and her classical violin. Ms. Kuo was a delight right from the start, thanking the audience for coming out before she even played a note. She introduced her first piece, Beethoven's Sonata No. 5 for piano and violin, Op.24, “Spring” , explaining her interpretation of each movement. Midway through the first movement, something quite remarkable happened. It was as though Ms. Kuo and her instrument became one and I never again separated the two in my mind. It isn't very often that that happens, especially with that musical genre. She (and the music) were mesmerizing, and accompanist Marianna Humetska only emphasized the imagery. So captivating, in fact, that several members of the audience were moved to applause between movements. Kuo's technique appears flawless, and she has the ability to extend a note from one end of her bow to its very tip, all the while maintaining a clear, strong tone. Beethoven was followed by Fantaisie bohemian by Canadian composer Michael Pepa. Kuo prefaced this piece by relating her recent experience of performing the Romanian piece in the Balkans, hoping her interpretation did it justice. I'm quite certain they were as impressed as we were. The high notes pierced the air with beautiful clarity, and the music was filled with tension that held your attention throughout, the trickling notes of the piano adding to the drama. At times the violin sounded like a flute, and Kuo's command of both the lower and higher octaves was very impressive. Intermission was followed by work from another Canadian composer, Winnipegger Sid Rabinovitch. Kuo explained the piece was inspired by the Gulf War. This contemporary number was very dramatic, showcasing the deft piano stylings of Ms. Humetska. Karol Szymanowski's Nocturne and Tarantella, Op. 28 followed. These pieces were quite complicated to listen to, but fascinating to watch. The programme ended with Fritz Kreisler's Tambourin Chinois. After receiving a standing ovation, Ms. Kuo decided to surprise the audience with a lively piece that clearly sounded like birds singing. Portions of the first half of the programme may have been difficult for all the audience to hear (the piano seemed to drown out the quieter portions of the violin), but EMCA sound technicians remedied the problem during the intermission. Lynn Kuo's musical resumé could fill this page, easily. Not only is she a solo performer, she also performs with a partner and with orchestras. Performing is not her only talent, however. She is the Assistant Concertmaster of the National Ballet of Canada Orchestra and Chef de l'ensemble Les AMIS in Toronto. She plays with the Toronto Symphony Orchestra and the Canadian Opera Company. She also teaches music and is a guest lecturer at universities. Word to the wise: don't let preconceived ideas prevent you from experiencing magic! "Technically she is a highly-endowed performer. She has mastered her instrument and can make it do just about anything she wants." " Kuo has a rich full tone in the lowest octave and her bowing arm has considerable strength, qualities which became apparent in this work." The Daily Gleaner, Fredericton
	"She demonstrated throughout the recital an ability to draw rich draperies of tone from the lowest strings, surprising us with the roundness of her resonance, as well as an extraordinarily and meticulously clean technical command of everything Wieniawsky [sic] and Sarasate throw at the violinist in the Polonaise Brillante in A Major and the Zigeunerweisen." "Throughout the recital, Kuo demonstrated the kind of confidence and control a soloist needs." The Chronicle-Herald, Halifax
	"Both Kuo and Yee have garnered an impressive wealth of accolades... As a duo, they're dynamite." "Her charm shone through in something as simple as a carefree twirl of her bow in anticipation of a difficult entry. In fact, both Yee and Kuo radiate a great degree of confidence and warmth on stage." The Telegram, St. John's
	"Schubert's Trout Quintet...displayed some fine lyricism from violinist Lynn Kuo..." The Hamilton Spectator, Hamilton
	"Kuo and Yee were utterly brilliant together." "...a confident, precise and passionate performance." "...Yee and Kuo have clearly arrived at the gate of successful musical careers..." The Telegram, St. John's
	"...a touchingly intense In Memoriam by Cornerbrook [sic] composer Michael Parker." "The ending, a series of long notes ascending to the highest pitches on the instrument, require a steady hand, a good ear and nerves of flint, and Kuo, as cool as a bird on a wire, played it flawlessly." The Chronicle-Herald, Halifax
	"Michael Parker's In Memoriam is a modern elegiac work which is eloquent in the extreme and brought out Kuo's finest playing of the evening, as she conveyed the sorrow and loss with deep throbbing notes and telling phrases." The Daily Gleaner, Fredericton Updated 10/01/07