Violin Sonata No. 8 established her as a player of impressive power and control. Not that this 24-year-old virtuoso lacks sensitivity: The Andantino movement of Corigliano’s Sonata for Violin and Piano exuded tenderness and sweet-toned appeal. In Hristova’s hands, it became the arresting centerpiece of the evening. Hristova’s fervent treatment of the first movement (of Saint-Saëns’s Violin Sonata) and headlong virtuosity in the finale deservedly brought the audience to its feet.”

- The Washington Post

“The exuberant first movement (of Corigliano’s Violin Sonata) leads to an elegiac Andantino, whose soaring melody Ms. Hristova played with expressive nuance and a rich tone, particularly attractive in the violin’s plummy lower range... Ms. Hristova played the yearning melodies later in the work beautifully (Messiaen Fantasie). The program ended with a richly hued and soulful rendition of Saint-Saëns’s Sonata No. 1 in D minor.” - The New York Times


“Hristova played the work with passion from the very first note. She has an innate musicality that makes musical sense of each phrase she plays. Every sound she draws from her 1655 Amati is superb. By the time she had reached the final bars, everyone had become entranced by her playing.”  -  The Strad


“Bella Hristova has an impeccable technique and plays very stylishly. She draws a mellifluous tone from a 1655 Nicolo Amati violin that used to belong to Louis Krasner.” -American Record Guide (Naxos CD review)


“Bella Hristova clearly enjoys playing these pieces. The brilliant passages come easily to her, and her playing throughout is neat and polished, with an elegance that perfectly suits the music. She’s an admirable advocate for Bériot.” -Gramophone (Naxos CD review)


“The 24 year old Hristova combines jaw-dropping technical prowess with real style. A real feature is fantastic bow-to-string contact; it is always said that great players are truly defined by their bow control not their left hand dexterity. I love the freedom and truly improvisatory way in which Hristova plays this. I cannot stress too strongly her intuitive musicality - there is a “rightness” to all her choices that I find quite utterly compelling. Exceptional violin playing.” - MusicWeb International (Naxos CD review)


“Bulgarian Bella Hristova, who at the age of 24 has won numerous awards, was an amazing young soloist. From the very first bars of the familiar opening subject (of Tchaikovsky’s Violin Concerto), she stamped her identity with profound intensity of interpretation, and the cadenza was brilliantly crafted with sturdy harmonic notes a feature of each climax.  Sonority and resonance from her 350-year old violin was consistently strong, never lost or swamped by the orchestra.” -Otago Daily Times 


“The young Bulgarian, Bella Hristova, gave a stunning account of the Sibelius Concerto that firmly gripped one’s attention. For one so young, the mix of exuberance, dignity and finesse was ideal, and consistent with the composer’s expressed wishes. The clean and silvery tone that she produced on her Amati violin at the opening and the cadenzas, and the warmth and restraint of the slow movement were simply magical. At the same time Hristova went into the extrovert brilliance and bravura of the finale with an unparalleled technique and assurance.” -The Press, Christchurch, New Zealand


“Weaving through the twists of Prokofiev's opening theme, never compromising the requested dreamy tone, Hristova would also prove she could strum her instrument with the fury of a folk-fiddler and deliver immaculate double-stopped counterpoint.” - New Zealand Herald


"Ms. Hristova had the spotlight to herself in Dvorak’s lush, sweetly melodic Romance in F (Op. 11) and Saint-Saëns’s unabashedly showy Introduction and Rondo Capriccioso (Op. 28), and she acquitted herself beautifully. In the Dvorak she produced a lovely, often soaring tone and was deftly supported by the orchestra’s trim woodwind and brass sections. And she built the Saint-Saëns showpiece with an effective dramatic sense that proceeded from the work’s graceful beginning to its sizzling finale." - The New York Times


"The concert’s highlight was the Mozart Concerto for Violin and Orchestra No. 5 in A, K. 219 played by talented Bulgarian violinist, Bella Hristova. Her Mozart rendition was musically sensitive and exemplary. Her delivery was unpretentious, elegant, and charming throughout." -


“Joining Mr. Zukerman for Bach’s Concerto for Two Violins in D minor, the excellent Bella Hristova, 25, was subtle and elegant, her tone clear and pure. She brought some fire to the final movement…with her impeccable sound and technique…”  - The New York Times


“One was particularly struck by her commanding stage presence, with a little hint of a young Anne-Sophie Mutter. During her performance of Beethoven’s Violin Sonata in G Major, her sumptuous sound and sustained quality lent this youthful work a glowing intensity. John Corigliano wrote his Violin Sonata for his father. Hristova played it with easy confidence, from the fiery, slashing chords of the opening allegro to the operatic Andantino and the explosive finale. If anything, it sounded too easy. Saint-Saëns’s Violin Sonata was the night’s showstopper. The faster Hristova and Jokubaviciute played, the tighter their accord became; her articulations were spot-on throughout.” - The Strad


“Hristova unflinchingly pulled out all the stops – and often gymnastic double-stops – required by the virtuoso composition (Kevin Puts Violin Concerto), from rapid-fire bowing across all strings to manic runs up the full gamut of violin notes, and from brawny, gutsy digs to sweet, ephemeral traces of sound. With an authority beyond her years, she displayed unwavering power, technical skill and a full heart that amply plumbed the composer’s complex matrix of rational thought and farflung emotion. It was a shining performance by a talent that could be heard from for a long time to come.” - The Grand Rapids Press


“Violinist Bella Hristova is no shrinking violet. Her performance of Beethoven’s 

© 2013 by Bella Hristova. All rights reserved.

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