International Music Management for Classical Artists

Tasmin Little

Reviews

” one of the supremely great violinists of our time ” ……  ” mind blowing perfection ” …… ” Little can justly be regarded as Britain’s finest violinist ” ….. ” Little in towering form, intellectually and musically ” …. ” extraordinarily beautiful tone, with richness and warmth ”  ….. ” captivating performance ” …   ” superbly articulate, her rich lyricism giving way to virtuosic displays ”  …  ” she matched faultless technique with sheer beauty of sound ”  …. ” an exquisitely crafted performance ” ….. ” Winner of the 2011 Classic Brit Award ” …. ” Gramophone CD of the month ” …..

Franck Symanowski Fauré. Chandos The selling point here may be the Franck Sonata for violin and piano, but the less familiar repertoire – Fauré’s Romance Op 28 and three works by Szymanowski – makes its own case in these impassioned performances by violinist, Tasmin Little and her regular pianist, Piers Lane. All their discs for Chandos include duo works that deserve to be better known. Szymanowski’s Sonata Op 9 (1904), expansive and romantic with some of the grandeur of Franck’s sonata, has energy and poetry. The second movement, with its yearning melody and mawkish pizzicato interventions, beguiles and charms. Little is one of the most open-hearted players around, with a watertight virtuosity to match. These are direct and generous performances to savour. Fiona Maddocks The Guardian

The Admirable British violinist, Tasmin Little, impeccably partnered by the pianist Piers Lane, explores Szymanowski on a fine recital recording that cannily places his music next to Franck’s celebrated Sonata in A and Fauré’s lovely Romance. How orderly, polite and restrained the latter two pieces sound when set against Szymanowski’s extraordinarily wild Notturno e Tarantella, with its weird slithery double-stopped-fifths opening and its ferocious ending, and his magnificent 1904 Sonata in D minor. Little and Lane play it superbly. Richard Morrison The Times

Szymanowski’s final souvenirs is the Second Violin Concerto (1933). It …  requires the most committed and characterful advocacy, which it received from Tasmin Little. She believes in every note and played superbly, not least in the compelling cadenza, written by the original soloist, Pawel Kochánski. With a vibrant and tactile accompaniment, and an exhilarating finish, this was a revelation. Colin Anderson Classicalsource.com

Adelaide Symphony Orchestra. Jeffrey Tate. With English compatriot vio­linist Tasmin Little on stage for Delius’s Violin Concerto, things only got more interesting. People sometimes struggle with Delius — musicians and listeners alike — because his highly scented and ­eclectic language can offer little to hang on to.

Here was their answer. Little, who makes this concerto a speciality, has such ease, assuredness and poetic understanding of its every note that all its apparent unfathomableness disappeared. And rather than staying contentedly in the background, the orches­tra was wrapped right up with her in all its intimate detail.

One relished the music-­making. Little would pass a theme to one section of the orchestra and then to another, and she would take time in places with her amazing filigree-laden lines to accommodate the orchestra so members could all breathe together. Graham Strahle The Australian

Tasmin Little is a passionate conversationalist: throughout her clear and nuanced reading of Delius’ Violin Concerto she moves backwards and between inviolable concentration and almost casual dialogue with whichever section of the orchestra takes her fancy. The result is as good as you can get, and she extracts panoply of finely wrought emotions from her 1757 Guadagnini violin. Acclaimed principal guest conductor Jeffrey Tate provides Little with great support from the podium ( Adelaide Symphony Orchestra ). Kym Clayton thebarefootreview.com

Critic’s Choice Tasmin Little is a dedicated advocate of British violin music, but is determined not to be typecast, and this fine set of Beethoven Violin Sonatas, with the pianist Martin Roscoe proves how right she is. Here she triumphantly shows her authority in the Austro-German classics, and justifies the faith that Chandos puts in her, by investing so much in what must have been an expensive recording. Chandos also rewards her, as they always do, with outstanding sound, which shows off Tasmin’s burnished tone, and technical agility. The Beethoven Violin Sonatas attract the great violinists of every generation, and this is a hugely competitive field, in which it’s impossible to talk about a best buy. But for me, Tasmin’s set is one of the finest of recent years, and deserves the widest circulation. David Mellor ClassicFM 

Little’s expressive style is generous and extrovert, Roscoe’s at times more inward looking – though the first movement of the Kreutzer Sonata comes across as an emotional switchback ride for both players. That’s one of the highlights of the set for me, but I’m also impressed by the way Little and Roscoe make the two following movements sound more than add-ons to that terrific opening drama. The tension is well contained in the more Classical early sonatas. Even better is the sense that the C minor Sonata, Op. 30 No. 2, is on the point of bursting out of that formal container. This is an impressive achievement overall though, and beautifully recorded. Stephen Johnson BBC Music Magazine PERFORMANCE **** RECORDING *****

Album of the Week Like Mozart’s, Beethoven’s sonatas are designated for piano and violin rather than the other way around, and here the two instrumentalists are equal partners, even in the work dedicated to the French violinist Kreutzer. This famous sonata gets a wonderfully vivid and nuanced performance from both players, virtuosic, alive to the subtle ” conversational” interplay between the instruments. The sequence is satisfying too. Roscoe and Little seem inspired by the greatness and variety of this music. Neither artist has done anything finer on disc. Hugh Canning Sunday Times

True to form, violinist Tasmin Little’s latest excursion into the lesser-know regions of English music has come up with material of genuine appeal. ( Coleridge-Taylor Violin Concerto / Delius Suite / Haydn Wood Violin Concerto ). Besides the stellar quality of Little’s playing ( as ever, warmly engaging and technically bombproof ), Sir Andrew Davis and the BBC Philharmonic provide accompaniments in a special class. 5 stars Malcolm Hayes BBC Music Magazine

Tasmin Little, known for the breadth of her repertoire, was the excellent soloist. ( Bernstein Serenade. BBC Philharmonic / Juanjo Mena ). The work began with a beautiful violin solo; Ms Little soon had the audience hanging on every note. Orchestra, conductor and especially the soloist made this performance of Bernstein’s Serenade a great experience; I hope to hear this major work many more times. Peter Connors Bachtrack.com

With the guiding hand of Tasmin Little as the lark, this was a very convincing performance. Here the tempi were perfectly judged, the string pianissimos were exquisite and the woodwind solos were delicate and responsive. Tasmin Little gave a strong and direct performance to crown it all. She then gave an equally idiomatic performance of a rarity by Holst from 1905, A Song of the Night. ( Cadogan Hall / Orquestra Filharmonica Mexico Jan Latham Koenig ) Chris Garlick Bachtrack.com

As a nod to the UK side of the Year of Mexico, we had Vaughan William’s The Lark Ascending, a piece often played in a tone of lofty purity. Tasmin Little gave it a more human, speaking warmth, which was affecting. She returned to give a radiant performance of Gustav Holst’s recently rediscovered Song of the Night, a piece which sits squarely in the European tradition of encore pieces. Ivan Hewitt The Telegraph

It goes without saying that Tasmin Little and Piers Lane play them immaculately, with all the care that they award masterpieces ( Schubert Complete Violin and Piano music. Chandos ) Michael Tanner BBC Music Magazine

Album of the Week. 5 stars… a Schubert set of rare quality that shows off all her talents as a violinist of distinction.( Schubert Chamber Works. Chandos ) In terms of both quality and quantity this is a winner and may well garner more awards. David Mellor The Mail on Sunday

Exuberance is the keyword here, and that is precisely what Tasmin Little and Piers Lane bring to them ( Schubert Chamber Works, Chandos ) in delightfully positive performances, bristling with vigour and with tenderness and tonal subtlety that make the music spring to life. Taste goes hand in hand with healthy spirit in these pieces, as it does in the “Rondeau brillant” that opens the second disc. But here the Classical profile of the earlier works has given way to a seam of more dramatic, Romantic sensibility that Little and Lane tap with verve, ardour and spark, supplemented by an intensity and sensitivity of expression in the late C major Fantasy. Geoffrey Norris The Telegraph

… exquisitely sensitive playing by Tasmin Little in Mendelssohn’s much-loved violin concerto. Taken at a brisk pace, the first movement was not over-sentimentalised. Little played with great panache and virtuosity in the tutti sections, whilst still paying due deference to the solo passages. It was great to see such obvious warmth and rapport between Little, Rustioni and the Bournemouth Symphony Orchestra’s leader. Her performance of the cadenza was of particular note, played with great authority and style. The Andante was both subtly and delicately played, still with great romantic expression, while the finale was adroitly dispatched as soloist, conductor and orchestra danced in unity to a breathtaking conclusion. Phil Smith Bachtrack.com

Tasmin gave Vancouver ( Vancouver Symphony Orchestra / Bramell Tovey ) a very finely-drawn account of the Korngold Violin Concerto. Clean lines and subtle shadings abounded, with a lovely suspension in the slow movement, capped off by an enticingly-playful ease in the finale. Geoffrey Newman vanclassicalmusic.com 

The inspired teaming of Tasmin Little and Martin Roscoe fully captures this elusive quality in glowing performance of the ravishing A major Sonata (Faure – Chandos )mwhile retaining a Brahmsian dramatic grip that ensures the music is sent soaring aloft in all the right places….. Little intensifies her exultant phrasing in the outer movements with a narrower, faster vibrato than usual to captivating effect. Julian Haylock The Strad

The emotion of the work ( Lekeu Violin Sonata ) is evident from the first phrase, beautifully poised between expansiveness and forward motion as played by Little. She draws the loveliest of tones from her Guadagnini violin. The range of expression is wonderfully maintained as the players also keep an overall sense of the shape of the next work ( Ravel Sonata ) building to a superb sense of rhapsodic transport, quite beatific as it goes on bar after bar. Graham Parker International Record Review

Little’s performance was exemplary. ( Moeran Violin Concerto. BBC Proms ) Rarely performed and recorded, it ­benefited from this considered and sympathetic performance … They never forced the music into places that it did not want to go, but treated it lovingly and carefully. Little was unafraid of taking her time in solo passages, ensuring that she extracted all the feeling from each note. Her intense concentration meant it did not matter that the Albert Hall was not entirely filled with sound, since Little was utterly engaging. Astonishingly, Little and the BBC Philharmonic had achieved the impossible: they had turned the Albert Hall into an intimate space. Hazel Rowland bachtrack.com

The image put across was of delicate fairy-folk dancing rather than of ruddy-faced farmers hoofing it. ( Moeran Violin Concerto. BBC Proms ) The Tchaikovskian cadenza – almost token in its brevity – prepared the ground for the glorious expanses of the finale. The effect of solo and orchestra – a true marriage of mind and heart between soloist, orchestra and conductor – was deeply moving with the final moments coming as a satisfied ebbing pulse – lost in the sunset. Rob Barnett seenandheard-international.com

Tasmin_Little_BBC_Music_Magazine_Feature_Page_1Tasmin Little. As she prepares for her 20th Prom we meet British music’s new national treasure. Tasmin Little has played on the BBC Proms stage more than most artists. As she prepares for her 20th appearance performing Moeran’s Violin Concerto, she tells Helen Wallace of her inexorable rise to stardom and her duty to inspire the next generation of concert goes … read full featureHelen Wallace BBC Music Magazine

White-hot Walton. These are top flight interpretations by exceptional artists. Little’s way with the virtuoso passages is allowing the ear to savour her phenomenal accuracy, yet with no loss of fire and brilliance. And her expressive range searches out wonderful new regions: the solo violin’s first three opening notes here amount to a haunting musical world in themselves, while the scherzo’s second tune is graced with a wry, mesmerising wistfulness of tone. RECORDING OF THE MONTH  Malcolm Hayes BBC Music Magazine

RECORDING OF THE MONTH Little’s gorgeous fragrant delivery of the concerto’s luscious opening theme immediately tugs the emotions in a way that recalls both Heiftitz’s recordings. … an abundantly communicative display that, quite simply, rekindled my love for what is a gloriously big hearted, consummately crafted work. Andrew Aschenbah Gramophone 

Tasmin Little introduces an extra dimension of meditation to the dreamy opening melody of Walton’s Violin Concerto, a mood that sets the scene for a heartfelt and often expansive account. There is certainly no lack of outgoing exciting brilliance in the bravura passages of the central scherzo, though it is the beautifully silky tone Little brings to the many introspective moments that will particularly recommend her performance. David Denton The Strad

Musical marvels as Australian Festival of Chamber Music comes of age.
With success comes star power in the dazzlingly attired form of English violinist Tasmin Little, whose performance on opening night on the Ravel Piano Trio, alongside fellow Brit Martin Roscoe and Australian cellist Julian Smiles, must surely rank as one of the most spellbinding moments witnessed within the dead-dingo acoustic of the Townsville Civic Theatre. The coming days will focus on music emerging from the shadows of war, alongside the beginnings of an ongoing association with the Palm Island community, plus multiple works by composer-in-residence Elena Kats-Chernin…….. Most of all, though, Little remains in the house. Martin Buzzacot The Australian  

Those seeking a coupling of these two Walton masterpieces ( Violin Concerto and Symphony No 1 ) will be more than well served by this outstanding disc that certainly warrants a top recommendation. The romantic and dreamy tranquillity of the opening movement is marvellously conveyed by the rapturous sounds that she elicits from her rich toned instrument. The challenges of the central scherzo are met with absolute conviction and mischievous wit, while Gardner and the BBC SO provide incisive accompaniment throughout in which the balance between soloist and orchestra seems ideal. Graham Williams SA-CD.net 

Recording of the Month. Chandos had earlier recordings of the First Symphony and the Violin Concerto… but, good as they both are, they are outshone by the new recording …. Of all Tasmin Little’s and Edward Gardner’s recent fine recordings this has impressed me the most. …. I think you’ll want to buy it when you have heard it. Brian Wilson – MusicWeb International

To the Violin Concerto ( Walton ) Tasmin Little brings a brings a mellifluous glow and a capricious spirit. This is music of impetuously shifting moods, by turns inward-looking and extrovert, a combination that Little, in close alliance with Gardner and the orchestra, effects with bravura and with a range of tonal shading and a sensitive moulding of phrases that, as in the symphony, lends the music both bloom and sparkle. Geoffrey Norris The Telegraph

ALBUM OF THE WEEK Little offers a mature, deeply felt and brilliant account of the work she has championed more than any other contemporary violinist, especially memorable in the bluesy rubato musings of the central “Neopolitan” caprice. MC The Sunday Times

Tasmin Little seems to be equally at home in the fiendishly virtuosic passagework as she is in the long, lyrical lines, such as the one that opens the concerto ( Walton ). It’s a very persuasive account, and makes for a fine companion to a superb recording of one of my favourite symphonies. Presto Classical 

Little Launches the loveliest of Larks to take flight. It’s not just that Little’s tone is nigh on ideal, capable of an extraordinary ethereal sweetness, but her sense of phrasing makes the whole work into one long melody, seemingly untroubled by bar lines.  Little sweeps all before her with the most sensitive and nuanced account to date ( Moeran Violin Concerto ). Where she stands out is in her ability to make Moeran’s rhapsodic work feel naturally structured yet still full of drama. Clive Paget Limelight Magazine

Gramophone Choice Recording. The Lark Ascending and Moeran Violin Concerto. Tasmin Little, an acknowledged standard-bearer for, and specialist in, British music, gives us a feast of works for violin and orchestra … she plays it with verve and panache but her most wide-ranging interpretation is reserved for the most substantial work on this disc, Moeran’s magnificent and entirely personal Violin Concerto. Jeremy Dibble Gramophone

5 star performance. 5 star recording. Tasmin Little’s stellar playing – brimming with gorgeous and glitz-free tone, plus a lovely range of lights and shade ( Moeran )  …. Little’s spacious and serene way with the Lark Ascending is both beautiful and beautifully unfussy. Malcolm Hayes BBC Music Magazine

A mesmerising performance from the great Tasmin Little of Ligeti’s tough and challenging Violin Concerto, whose rustling, buzzing and swarming pages bemused and baffled many listeners (who made a point of telling me); I enjoyed it, and thrilled at the moments of raw, naked Hungarian folk music that periodically poked through the busy texture. Michael Tumulty The Herald

Classical Ear, Record of the Year. 2013. The Lark Ascending and Moeran Violin Concerto. Tasmin Little plays with cherishable insight, her tone beguiling in its lustrous glow, and she is partnered with acute sympathy by Sir Andrew Davis and the BBC Philharmonic Andrew Achenbach Classicalear.com

Little’s special sense of identity with English music is confirmed by a performance of E. J. Moeran’s Violin Concerto that surpasses even the Albert Sammons classic … Little ( has a ) special ability to ‘dream’ and fantasize with the music as though she is composing it as she goes along. It’s over twenty years since Tasmin Little first recorded Vaughan Williams’ surpassingly lovely The Lark Ascending … and if anything she sounds even more inside this magical score than before, developing upon the delicate tracery of the 1990s with a radiant warmth and singing glow that captures the music’s pastoral mood to perfection. The remainder of this exceptional disc usefully programmes Delius .. Holst … Elgar … one of Little’s finest albums. Julian Haylock sinfinimusic.com

Tasmin Little is a terrific violinist …. the centerpiece of her latest enticing album is E.J.Moeran’s Violin Concerto ….. a delight …. savoury meal for the adventurous … delicious ….The Lark Ascending remains a ravishingly beautiful piece and no one does it better than Ms. L. ALBUM OF THE WEEK David Mellor Mail on Sunday

Tasmin Little joined the orchestra ( BBC National Orchestra of Wales / Olari Elts ) to play the Second Violin Concerto ( Szymanowski ) and immediately made an impression with her red-blooded delivery of the opening phrase. The folk-dance-influenced music was well captured throughout this performance … and her extensive passages in double-stopping were always perfectly tuned, as was the fiendishly difficult central cadenza. Paul Corfield-Godfrey seenandheard-international.com

First in a new British Sonata series from Little and Lane. Little and Lane give a fine performance, relishing the rhythmic drive of the outer movements ( Howard Ferguson Sonata No. 2 ) while achieving a beautiful air of tranquillity in the more introspective music…. This performance ( Walton Sonata ) is finely paced with a sense of momentum that allows the listener to appreciate Walton’s mastery of large-scale form, and Tasmin Little’s full, expressive tone seems ideally suited to the work’s sinuous melodies. … one can welcome with pleasure such a spirited, well-judged performance ( Britten Suite ) Duncan Druce Gramophone

Little and Lane bring to it ( Ferguson Sonata ) every last ounce of expressivity. Little’s rock-solid and secure harmonics, her playing sul ponticello and up in the highest stratosphere of the instrument’s range, often at a miraculous pianissimo, are quite breathtaking ( Britten ). Piers Burton-Page International Record Review

a splendidly recorded and documented disc. It’s good to see Little and Lane – Britain’s best ambassadors for native violin sonatas – exploring further afield…. Little’s tonal resources are the most opulent … she and lane traverse the sonata’s ( Ferguson ) dramatic and lyrical paths with conspicuous excellence.  Jonathan Wood musicweb-international.com 

I have been waiting for some time to hear Tasmin Little in this violin concerto ( Britten / Chandos ) and she does not disappoint…. notably in the astounding dcclamato passage in the ‘Passacaglia’ and in the long Lento c solenne coda, where  she plays the final espressiro passage in octaves (it’s not in the score, but the music demands it, without question). Elsewhere, her virtuosity is breathtaking….. this is a simply magnificent recording which it would be impossible to improve upon. Robert Matthew-Walker International Record Review

Little’s interpretation ( Britten Violin Concerto ) strikes me as one of the finest committed to disc: she pays homage to Ida Haendel’s 1970s recording in her note, and matches that great player with her intense, febrile tone and easy virtuosity. Even though her partnership with Gardner is new in the work, their dramatic and emotional conception is unified, and particularly arresting in the sizzling central movement’s vivace, the timpani-accompanied cadenza and the closing passacaglia, dying into nothingness with devastating effect. Hugh Canning Sunday Times

CD of the Week Perhaps the best new recording thus far of Benjamin Britten’s centenary year features three British artists – Tasmin Little is inspired throughout the Violin Concerto David Mellor Mail on Sunday

We also have a very special reading of the Violin Concerto ( Britten ). Little and Gardner plum its emotional heart in a performance of great passion and spontaneity. There’s a sense not just of supply flow from Little, but an incandescent commitment to the work. Performance 4 stars. Recording 5 stars. Helen Wallace BBC Music Magazine

Overall, this has to be rated a very fine effort, and not just by Little, but also by Piers Lane who partners her most excellently on the piano. Her performance of the piece ( Resipighi Violin Sonata ) is lithe and fully responsive to the score’s rapidly shifting moods and colors. … it’s definitely among the very best of the Respighis, and the extra three encores from Respighi’s Six Pieces for Violin and Piano make for a most enriching program. Easily recommended. Jerry Dubins Fanfare Magazine

Any doubt as to Tasmin Little’s identification with this music ( Lutoslawski ) is quickly banished as she responds with some of her most insightful as well as virtuosic playing on disc. Richard Whitehouse International Record Review

” Intensely committed Elgar …. you could hardly ask for a better performance than the one we got Friday night (Saint Louis Symphony Orchestra). Soloist Tasmin Little and conductor Sir Andrew Davis are major exponents of the work and their commitment showed in every note. Ms. Little, resplendent in a golden gown, attacked the music with a fierce and even (at times) grim concentration that yielded a presentation rich in poetry and virtuosity. No wonder their 2010 Chandos recording has garnered critical raves. If, like Elgar, you love the “Violin Concerto,” you won’t want to miss this performance. ” Chuck Lavazzi kdhx.org

Violinist Tasmin Little delivers loving, lyrical solos with the Wisconsin Chamber Orchestra – She brought us two treasures. One was the Introit for Solo Violin and Small Orchestra by Gerard Finzi.  A gentle, delicately beautiful lyric effusion, it was given a loving rendition by the soloist, who is a champion of English music….Little’s other gift was Prokofiev’s Second Violin Concerto….. the work was cast in a different light. Aided by the WCO’s smaller-scaled ensemble, Little avoided the boldness and bravura, and devoted herself to what struck me as a kind of “Classical” (in the Mozart sense) conception of the work, carefully structured and emphatically lyrical. Her tone is not big and aggressive, and she is blessedly free of accompanying athletics (à la Joshua Bell ). With technique to burn, she concentrates on careful articulation and a truly beautiful elegance of playing. Appealing also was her obvious manner of collegial involvement with the conductor and the orchestra players. Hers is a warmly human personality, and her artistry is truly refined. Her performance really moved me. John W. Barker isthmus.com

Tasmin Little and Piers Lane turn in one of the most satisfying performances I’ve heard ( Strauss Violin Sonata ). Their judicious choice of tempos allows the music to breathe naturally. They also display an intense sympathy with Strauss’s melodic style, especially in their melodic account of the slow movement. The Strauss is coupled on this recording with a remarkably eloquent interpretation of Respighi’s Sonata in B minor. Little and Lane’s relaxed yet focused reading of the first two movements is balanced by a thrusting, even aggressive account of the passacaglia finale. 5 star performance rating.
Paul Mitchell, BBC Music Magazine

Tasmin Little’s approach ( Strauss )  embraces the quiet and affectionate passages of the outer movements as well as those ardent moments where one can imagine a young man’s protestations of love. The outer movements ( Respighi ) could almost have been written for Little’s outgoing lyricism, which glows with passionate fervour, and she takes the “expressive” marking of the central Andante to heart.Throughout both works Little and Lane breathe the phrasing as one. David Denton The Strad

Strauss’ first movement is purposeful and flexible ( Chandos Strauss/Resipighi Violin Sonatas ), given a heroic and shapely account by Tasmin Little and Piers lane ( a well-established duo and here sounding like it ), who let the music breathe and they also bring a fine sense of achievement to the coda. In the so called “improvisation” of the multi-facteted second movement the performers find raptness and delicacy. Darkness intercedes with the opening of the piano; Lane is superb … full of character and virtuosity … being an admirable foil for Little’s commitment and spontaneity.  Both artists suggest brilliant sunlight as the Sonata heads to a victorious finish. The performances are well judged and the recording gives air and fullness to both instruments.  Sublime !
Colin Anderson, International Record Review

” The BBC SO and Edward Gardner, in the latest of this excellent series, capture the range of moods eloquently. They’re joined by Tasmin Little, a powerful soloist in Partita and Chain 2. The Polish composer, neglected of late, wholly deserves this attention in his centenary year. ” Fiona Maddocks The Observer

Partita and Chain 2, two 1980s violin concertos noted for their expressive intensity, a quality matched by Tasmin Little’s performances “. Andrew Clarke Financial Times

Tasmin Little has made a speciality of Delius, as her recordings of the Violin Concerto, which she played in this Prom, the Double Concerto and the violin sonatas might suggest. In this concert she was as persuasive as ever. She performed the opening section with an easy fluency and a sense of both conversational exposition and firm musical direction…. her playing had clarity and beautiful articulation. It also had a sense of something intimate and personal: Little showed an ability to fill this large hall with what seemed like private musical thoughts.nLater she gave an eloquent, understated moto perpetuo commentary over stately dances in the orchestra, before finally dying away, primus inter pares among the wind solos with which the work winds down…..  a performance that should have convinced some of those listening to seek it out again.
Tim Homfrey, The Strad

Ainars Rubikis set the tone ( Brahms Violin Concerto ) with a gentle dreamy opening interrupted by rhythmic outbursts, but the drama did not really start until Tasmin Little’s triumphal entry. Eventually the tension melted away to by replaced by exquisite passages of flowing music in which the violin sang forth sweetly; even in the more energetic ones there was little sense of foreboding. Tasmin played Joachim’s extended cadenza at the end of the first movement, and despite the demands it makes on the soloist this was a relaxed, musical interpretation rather than an excuse for virtuosic display. The Adagio opened serenely … When the violin entered, the orchestral contribution was nicely controlled offering support rather than competition, but the temperature rose in the gypsy-like atmosphere in the finale. Here soloist and orchestra tossed melodies at each other in a good-humoured manner, and the interaction between the two was sheer delight. Tasmin Little carried off her prestissimo passages without turning a hair and the whole movement expressed a sense of jollity and fun.
Roger Jones, Seen and Heard International

“A superb new recording by Tasmin Little that goes right to the top of the class…. she strikes exactly the right balance between power and sentiment. By sentiment I mean deep feeling … the concerto has big moments only a true virtuoso can bring off … deep emotions … the product of Elgar’s intensely complicated feelings. …. it requires a true musician to bring out every nuance. And Tasmin Little is such an artist.”
Mail on Sunday

“She handled the gorgeously romantic passages with a marvellously warm tone, always expressive but never sentimental, and her tempi seemed, to this listener, just right. Utterly spell-binding. What superb music making.”
Seen and Heard International

“For the playing we heard in these performances, “excellent” is by far too weak a word…. I have no hesitation in declaring that this is one of the supremely great violinists of our time. Her tone in every register was ravishingly lovely, her articulation (through all the extraordinary ardors of this exceptionally taxing work) impeccably crisp and clean, her phrasing eloquent in the extreme, her response to every one of the composer’s indicated nuances unstintingly complete.”
Music Web International

“The performance was one of the glories of the season, with Tasmin Little’s playing fuelled by her unshakeable confidence and maturity. Her playing communicated her certainty in what she was doing, which then allowed her intoxicating blend of power, passion, poetry and drop-dead beautiful playing to conjure a magic that just let the music flow. The flexible, responsive direction by Sir Andrew Davis and the expressive playing of RSNO formed the rock on which this magnificent monster stood proud.”
The Herald

“The quality of the performance was illustrated by the fact that one heard details that had never been noticed before. On the strength of performances such as this, Little can justly be regarded as Britain’s finest violinist.”
The Independent

“From the first notes of Brahms’ Violin Concerto Op.77 she made it her very own, moulding it not as a massive symphonic statement but as a softly intimate sharing of confidences between her violin and the orchestra.”
Adelaide Advertiser

“It is easy to take Little for granted, but her performance of the Elgar showed how she has developed into a player of a different league from most of her British colleagues.  It was an elating performance that well illustrated the alchemy of combining both technical and musical virtuosity.”
The Strad

“Little’s performance was a compelling one, displaying a directness and warmth of expression that was particularly notable in the Bach. There is much subtlety in her approach, a graciousness that allowed the pianist his fair share of responsibility – adeptly handled by Lenehan – and an ability to let the music speak for itself.”
Financial Times

“For sheer beauty of tone and expressive nostalgia, Tasmin Little and Sir Andrew Davis out-Elgar their rivals.”
Sunday Telegraph

“Tasmin Little gave an engaging and superbly controlled account. Confident even at the extremes of the violin’s range, and eloquent in the work’s elegiac ending, she matched faultless technique with sheer beauty of sound.”
The Independent