Monday, February 28, 2011 at 6:30 PM
Le Poission Rouge - New York, NY
For tickets
Music review in The New York Times: Recreating a Bill of the Obscure and the Familiar (by Allan Kozinn, Feb 26, 2011)
For tickets
Music review in The New York Times: Recreating a Bill of the Obscure and the Familiar (by Allan Kozinn, Feb 26, 2011)
Ever since her Concertgebouw debut in 1997, Janine Jansen has been a huge star in her native Holland. Today she is internationally recognised as one of the great violinists – a truly exciting and versatile artist.
Janine Jansen is a fresh faced and energetic Dutch violinist who entered the classical music scene in the late '90s. She studied violin at the University of Utrecht and made her debut with the Concertgebouw Amsterdam in 1997. The response to Jansen's debut in Europe was immediate, and her international reputation was established after an appearance made in London with the Philharmonia Orchestra in November 2002. Shortly thereafter she began to record for Decca in the U.K.
Jansen's first album gained generally positive critical notices; however, the response to her second, Vivaldi: The Four Seasons, came as a bit of a reality check to many. Jansen's willful, anti-historic, and highly interventionist reading of the familiar Vivaldi work was a little over the top for many reviewers. The front cover of the disc also made some wonder if the thrust of Jansen's marketing was on her looks rather than her artistic ability. In this respect, her first American tour, held in late 2005 -- early 2006, was inconclusive, though generally well attended. Time will tell if Jansen is an artist of the class that is here to stay, or a player whose primary effect is to make other violinists jealous and serve a magnet for the wrath of classical music purists.
Janine Jansen is a fresh faced and energetic Dutch violinist who entered the classical music scene in the late '90s. She studied violin at the University of Utrecht and made her debut with the Concertgebouw Amsterdam in 1997. The response to Jansen's debut in Europe was immediate, and her international reputation was established after an appearance made in London with the Philharmonia Orchestra in November 2002. Shortly thereafter she began to record for Decca in the U.K.
Jansen's first album gained generally positive critical notices; however, the response to her second, Vivaldi: The Four Seasons, came as a bit of a reality check to many. Jansen's willful, anti-historic, and highly interventionist reading of the familiar Vivaldi work was a little over the top for many reviewers. The front cover of the disc also made some wonder if the thrust of Jansen's marketing was on her looks rather than her artistic ability. In this respect, her first American tour, held in late 2005 -- early 2006, was inconclusive, though generally well attended. Time will tell if Jansen is an artist of the class that is here to stay, or a player whose primary effect is to make other violinists jealous and serve a magnet for the wrath of classical music purists.
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