Soloist with the Concertgebouw Chamber Orchestra (Bach):

De Stentor, 20 May 2011 (René de Cocq):
“The concertos by Bach were played with an exemplary feeling for style, with exciting tempi, with crystal clear phrasing, with virtuosity where possible and with internalized lyricism where needed.”

Soloist with the Royal Concertgebouw Orchestra / Mariss Jansons (Mozart):

De Volkskrant, 28 August 2006 (Bela Luttmer):
“In strong contrast with Jansons’ overwhelming sound concept in Mahler’s First Symphony stood his interpretation of Mozart’s Fifth Violin Concerto. [..] With Vesko Eschkenazy as the soloist, he gave it the intimacy of chamber music. The ultra honest and unforced tone of Eschkenazy matched perfectly with this conception. Moreover, Eschkenazy profited by knowing the orchestra throughout. Details as a climbing melody of the solo violin and the horn were so together that is was pleasantly close to perfection. Remarkable was Eschkenazy’s approach to the cadenzas, quite extensive soli, not by the hand of Mozart but by the 19th century violinist Joseph Joachim. Eschkenazy abandoned his small and deep Mozart-tone here and turned it into a great romantic sound, completely in Joachim’s style. This wink gave the performance a pleasantly relativizing character, as if Eschkenazy wanted to say: perhaps Mozart wanted it this way and Joachim wanted it that way – an interpretation is not an absolute truth but an instantaneous sample of the ‘here-and-now’ [..]”.

Het Parool, 26 August 2006 (Michel Khalifa):
“For Mozart’s Fifth Violin Concerto, the Royal Concertgebouw Orchestra had invited Vesko Eschkenazy to be the soloist. [..] Eschkenazy emphasized the elegant and optimistic side of Mozart’s music, miles away from the forced dramatism which seems to become the standard these years. His relaxed interpretation was a relieve. A fascinating dialogue unfolded between Eschkenazy and his colleagues, with thanks to Mariss Jansons, who held the music springy and light-footed. The Concertgebouw Orchestra has captured the spirit of Mozart, which is a good sign just before the upcoming performance on the Salzburger Festspiele.”

Soloist in the Royal Concertgebouw Orchestra / Iván Fischer (Rimski-Korsakov):

De Telegraaf, 20 October 2006 (Thiemo Wind):
“Joyful playing of the highest level was to be heard in Sheherazade by Rimski-Korsakov. [..] The score has many solo passages [..]. Most prominent are those for the concertmaster. Vesko Eschkenazy played his part delicately and intensely. [..] A memorable evening.”

CD The Fascinating George Gershwin:

Luister Magazine, February 2004 (Aad van der Ven):
“Eschkenazy moves with guts through la ville lumière [..]. A pleasant combination of subtlety and quasi-nonchalance.”

NRC Handelsblad, 11 December 2003 (Mischa Spel):
“With jazzy glissandi, a basic instinct for timing and above all a lot of guts and schwung, violinist Vesko Eschkenazy recorded these pieces on a playful but also substantial cd. [..] Radiant and swinging.”

CD Concertos by Mozart/Mendelssohn/Schubert with the Concertgebouw Chamber Orchestra / M. Boni:

USA Classics Today, 24 June 2003 (Michael Liebowitz):
“Vesko Eschkenazy graces these works with his warm, well-rounded tone and holds his own against any of his famous competitors on disc. He tackles the Mozart’s concerto with exuberance, the Schubert with poised phrasing [..] and turns the ‘other’ Mendelssohn into a work whose relative neglect should be called into question.”

Klassieke Zaken Magazine, June 2002:
“Vesko Eschkenazy gives a lyrical performance of Mozart’s Fifth Violin Concerto, staying miles away from the chopping vigour with which this piece is played so often. [..] Mendelssohns’ early Violin Concerto in D minor [..] gets a shiny interpretation.”

Soloist with the Haddonfield Symphony Orchestra / R. Milanov (Khatchaturian):

South Jersey News, 19 February 2002:
“Summoning a silken tone from his Guarneri del Gesu violin, Eschkenazy played Khachaturian’s concerto fleetly and nimbly. [..] The soloist [..] made each measure count. [..] Playing with matchless finesse, he caught the ceaseless energy of the music and never lost his poise.”


Duo recital with Ludmil Angelov (Mozart/Prokofiev,Shostakovich):

Gooi en Eemlander (Josée Zuiver):
“STIRRING PLAYING BY VESKO ESCHKENAZY. The wonderful playing of this violinist can only be described in superlatives. [..] The exceptionally warm sound of his violin (1738) is admirable. [..] The technical abilities of this violinist seem to be unlimited. And yet, he always radiates simplicity and unpretentuosness. [..] Highlight of the evening was Shostakovich’s Violin Sonata, with a heart rending beginning, [..] which was played unbelieveably beautiful.”


Soloist with the Royal Concertgebouw Orchestra (Beethoven):

Financial Times, March 2002 (Max Loppert):
”Vesko Eschkenazy gave us the Beethoven Violin Concerto playing with shining ease and freedom from top to bottom”

Soloist with Concertgebouw Chamber Orch. / M. Boni (Mendelssohn/Schubert):

Mundo Classico (Spain), 22 February 2002:
“The soloist Vesko Eschkenazy made his violin sound marvellously. [..] He has a brilliant future ahead of him [..]. On this young age (30) he already show the qualities of a master violinist with a perfect techique and a glorious tone.”

Soloist in the Royal Concertgebouw Orchestra / Michael Tilson Thomas (Strauss):

NRC Handelsblad, 20 April 2002 (Mischa Spel):
“The violin solo of Vesko Eschkenazy in Ein Heldenleben came across as an island of elegance and musical eloquence. With his velvet-like romantic sound, his intelligently meandering phrasing and snory double-notes, Eschkenazy showed himself a concertmaster who is extraordinary gifted as a soloist.”

Soloist with the Royal Concertgebouw Orchestra / Mark Elder (Szymanowski):

De Telegraaf, 25 November 2000 (Thiemo Wind):
“VESKO ESCHKENAZY IS A BRILLIANT VIOLINIST. [..] Eschkenazy demonstrated his solistic qualities in Szymanowsky’s First Concerto. [..] The Bulgarian violinist played with perfect technique and a personal, internalized radiation. [..] Sonority and colour of sound are very important for the musical discourse. The violin floats over the orchestra, plays a game of touching and releasing. Eschkenazy showed himself to be completely familiar with that role.”

Soloist with the Netherlands Philharmonic Orchestra / M. Boder (Khatchaturian):

NRC Handelsblad, 22 May 2000 (Wenneke Savenije):
“Professionality, vitality and slavonic lyricism are the foundations of Vesko Eschkenazy’s violin playing, which is not only ultra solid, but also ultra musical. His descent from a family of professional musicians is revealed by his steady technique and supple phrasing. Eschkenazy knows what he is doing, and does what he can do, with the self-evident ease of a bird flying through the air. Cheerfully and relaxed, elegantly and flowing, without any physical or mental barriers. Eschkenazy played the Armenian themes from Khatchaturian’s Violin Concerto as if he embraced his good old friends, warmly and genuine, most charming and unaffected. With Eschkenazy, the exciting rythmical passages sounded ardent and contagious.”


Soloist with Orch. des Nordharzer Städtebundtheaters/C.Hammer (Mendelssohn):

Mittel Deutsche Zeitung, 18 February 1997 (Marc Matthees):
“Vesko Eschkenazy performed Mendelssohn’s Violin Concerto very intensely and internalized. He treated the technically difficult passages in a very virtuoso manner and his cadenza had great impact. He was succesful in transferring his spiritual concentration on the conductor and the orchestra. They followed him effortlessly.”

Soloist with the Brandenburgische Philharmonie / H. Ohyama (Wieniawsky):

Märkische Allgemeine Zeitung, 20 December 1993 (Uta Ruscher):
“In the Andante of Wieniawsky’s 2nd Violin Concerto and in the Paganini encore this highly talented artist proved the profound musical ability contained in him. [..] The audience could not contain themselves.”

Potsdamer Morgenpost, 20 December 1993 (Uta Ruscher):
“The surprise of the evening was the Bulgarian violinist Vesko Eschkenazy playing Wieniawsky’s 2nd Violin Concerto. [..] It became clear through his interpretation and approach, his virtuosity should make for him a superb career. In thanking his audience for their enthusiastic ovations he gave them the 21st Caprice by Paganini”

Potsdamer Neueste Nachrichten, 22 December 1993 (Klaus Böstrin):
“Eschkenazy played Wieniawsky’s 2nd Violin Concerto with sensitivity and active tone. He demonstrated his virtuosity in the third movement. Ohyama and the Philharmonia reacted very sensitively to Eschkenazy’s playing [..]. The audience was enchanted and clamoured for an encore [..].”


Soloist with the Monte Carlo Philharmonic / V. Ghiaurov (Saint-Saëns):

Nice-Matin (Aurore Busser):
“Total mastery, remarkable sensitivity, magic and full-bodiedness of tone. Very convincing!”


Soloist with the Royal Philharmonic Concert Orchestra (Sarasate):

Bristol Evening Post:
“Vesko Eschkenazy gave an impressive rendering of Sarasate’s Carmen Fantasy, receiving a huge reception and applause at Bristol’s Last Night of the Proms [..]”

Soloist in Brahms’ Violin Concerto:

Kent Courier:
“In Brahms’ Violin Concerto the soloist and orchestra produced glorious tonal colours, sometimes the dominance of the fiddle, sometimes the beauty of the woodwinds, contrasting strongly with the rich string tones.”


– – – – – –

Haarlems Dagblad:
“WITH STYLE AND LOVE. [..] The Bulgarian violinist Vesko Eschkenazy strikes with his gifted technique, crystal clear intonation, pure tone and virtuoso spiccato [..]. The sound is unblemished, the vibrato is controlled and the dynamics are colourful.”

– – – – – –

China Daily:
“Eschkenazy has remarkable talents and skills [..].”