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Repertoire http://www.pricerubin.com Video & Audio Links Complete artist information including video, audio and interviews are available at www.pricerubin.com Lisa Jacobs – Biography Dutch violin virtuoso Lisa Jacobs is known for her passionate performances, interesting programs and communicative qualities on stage. She is equally at home on the concert stage with concertos, chamber music, recitals and solo works.
At the age of only 17, Lisa made her successful debut with the Royal Concertgebouw Orchestra under the baton of Riccardo Chailly.
She has played several times in all the major concert halls of the Netherlands and all around the world ever since, both as a soloist with renowned orchestras and conductors, as a recitalist with her pianist Ksenia Kouzmenko and at chamber music festivals, always to high critical acclaim, receiving brilliant reviews and finding ecstatic audiences. She receives much attention in both national and international media, with live radio concerts, television broadcasts and interviews. Lisa has won several first prizes in both national and international competitions, one of them being at the 2nd International Jascha Heifetz Violin Competition in Lithuania 2005, where she received the Audience prize as well.
She has collaborated with (amongst others) the Amsterdam Sinfonietta, Royal Concertgebouw Orchestra, Brussels Philharmonic, Philharmonie ZuidNederland, Lithuanian Chamber Orchestra, Joensuu City Orchestra, Kiev State Symphony Orchestra, Georgian Sinfonietta, Lithuanian National Symphony Orchestra, Orchestra Sinfonica Abruzesse, Orquestra Sinfonica de Juanaguato Mexico, Residentie Orchestra and respected conductors such as Neeme Järvi, Riccardo Chailly, Jurjen Hempel, Massimo Quarta, Dirk Brossé, Juozas Domarkas, Jan Willem de Vriend, Carlos Miguel Prieto and Toby Hoffman.
Lisa plays a Rugieri violin from 1683, given to her on loan by a private person for which she is very grateful.
Lisa Jacobs – Biography Upcoming engagements include concerts playing the Wieniawski, Mozart, Mendelssohn, Locatelli and Vivaldi concertos, including concert tours to Greece, France, United Kingdom, Georgia, China and Germany.
In November 2013, her debut CD of works by Franck and Ysaye was given a highly successful release on Challenge Records International. Lisa’s next CD will be released in 2015.
Miss Jacobs started playing the violin at the age of 6. She was accepted in the Young Talent class of the Utrecht Conservatory by Joyce Tan at only eight years old. She continued studying with Ilya Grubert at the Conservatory of Amsterdam, where she has graduated cum laude and with the highest distinction for both her bachelor and masters studies, at which occasion the jury spoke that they “were short on superlatives to praise her superb playing.” She also took lessons with Christoph Poppen at the Hochschule für Musik und Theater in Munich where she successfully finished her Konzertexam. This has been supported by the foundation Prins Bernhard Cultuurfonds.
Further musical influences were received in several lessons with Thomas Brandis, Julian Rachlin, Herman Krebbers, David Takeno, Nelli Shkollnikova, Philip Graffin and Maxim Vengerov, which was broadcasted on Dutch television.
Lisa Jacobs – Biography “Jacobs’s exultant phrasing and captivating sonority reaching new heights” (The Strad, UK) “Sensual allure in Jacobs's deeply felt, beguilingly phrased readings” (BBC Music Magazine, UK) “Magisterial authority and tonal splendor” (Fanfare Magazine, USA) “Audience stunned into breathless silence” (Grafschafter Nachrichten, Germany) “Musical mastery of this caliber is rarely heard” (Dutch Telegraph) Lisa Jacobs – Reviews
BRABANTS DAGBLAD: LISA JACOBS SINGS, SPEAKS, DANCES ON HER VIOLIN“The most impressive string sounds of this afternoon were from guest violin soloist Lisa Jacobs. The young top musician who has frequented Den Bosch for many years with her own chamber music series, but who is now gradually growing to a great international musical career.
Jacobs has strong technical skills and a sympathetic appearance. In an admirable way she tackled 'Zigeunerweisen' by Pablo de Sarasate. With sparkling phrasing she was bringing to life this immensely difficult violin phantasy and the accompanying orchestra could do nothing but only follow her silently.
Lisa Jacobs sings, speaks and dances on her violin.”
-Mark van der Voort Brabants Dagblad, January 5th, 2015 (Netherlands)
-------------------------------------------------------------------------------------THE STRAD: A RAVISHING DISC OF BELGIAN MASTERPIECES Lisa Jacobs (who plays the piano-accompanied version of the [Ysaye] Poème élégiaque, alongside the op. 21 Extase) emphasizes the music's impassioned eloquence with a cantabile of beguiling radiance.
The stand-out performance here is, however, the Franck Sonata, captured at a discreet distance from the microphones, creating the uncanny impression of this deeply sensual score being experienced through a heat-haze. As a result the pseudo-orchestral writing of the second movement Allegro emerges as an imposing cathedral of sound, with Jacobs's exultant phrasing and captivating sonority reaching new heights in the finale's soaring lyricism.
-Julian Haylock, The Strad, October 2014
------------------------------------------------------------------------------------stars] BBC MUSIC MAGAZINE REVIEW Franck's and Ysaÿe's chromatically intensified soundworlds possess an aching sensual allure in Jacobs's deeply felt, beguilingly phrased readings. **** [4 stars]
-BBC Music Magazine, UK, May 2014
------------------------------------------------------------------------------------Lisa Jacobs – Reviews
AN IRRESISTIBLE, NEARLY OVERWHELMING WHOLE - FANFARE MAGAZINE (USA)YSAŸE Poème élégiaque. Extase. FRANCK Violin Sonata • Lisa Jacobs (violin); Ksenia Kouzmenko (piano) • CHALLENGE 72624 (56:08) All the works on Lisa Jacobs's debut CD have a connection to violinist-composer Eugène Ysaÿe, who wrote the first two himself and, as dedicatee, received César Franck's Violin Sonata as a wedding present. Playing on a 1683 Rugieri in a reverberant environment in July 2013, Jacobs gives, in partnership with pianist Ksenia Kouzmenko, a haunting impression of Ysaÿe's ebbing and flowing harmonic and melodic style in his Poème élégiaque. Her violin sounds for the most part commanding in the middle and lower registers and pure in the upper ones. If the virtuosity required in this work remains, at least until about halfway through its duration, primarily tonal and expressive, Jacobs possesses the insight and subtlety to realize its elusive demands (although the work does make many references to Ernest Chausson's similarly titled work, for which it served as a model). Philippe Graffin played the work with Pascal Devoyon on Hyperion 66980, Fanfare 20:6, as did Frank Peter Zimmermann on EMI 7243 5 55255 2 9, Fanfare 18:6 (Albrecht Breuninger took advantage of an orchestration by the composer's grandson, Jacques Ysaÿe). (David Oistrakh also played it with piano.) Both Graffin and Jacobs seem, from the very outset, gauzier and more suggestive than does Zimmerman, but Graffin's program consists only of compositions by Ysaÿe, so the choice of recording will necessarily depend heavily upon the program, though for the Poème only, it would be hard to beat Jacobs. David Oistrakh recorded Ysaÿe's Extase twice, but Jacobs follows its shifting moods with great equal confidence and resulting magisterial authority-and tonal splendor.
Jacobs and Kouzmenko begin Franck's sonata deliberately but suggestively, imparting to it a heavy weight, but the movement, at least most of the way through, seems to bear up well.
And just when it threatens to become too glutinous, Jacobs and Kouzmenko rescue it from the abyss, capturing the listener's attention with an expressive gesture. Kouzmenko thunders in the opening of the Allegro that follows, and Jacobs's entry exhibits equal energy; but Jacobs introduces portamentos into the movement's more reflective sections that establish her performance as individual as well as idiomatic. In this movement, as well as in the third, the Recitativo-Fantasia, which the duo begins in a more subdued tone, lead nuanced sections to searing climaxes. They induce in the listener states of quasi-mystical ecstasy in the canonic finale (the first remains the only movement in which the weight threatens, if only occasionally, to capsize the ship.) Even those who treasure older performances by David Lisa Jacobs – Reviews Oistrakh, Jascha Heifetz, Isaac Stern (not to mention Jacques Thibaud or Zino Francescatti) should still welcome this reading.
The repertoire Jacobs has chosen for her premiere might not mirror that of other young violinists, but it appears to be perfectly tailored to her musical personality. Challenge refuses to print the tracks' timings in the booklet, referring readers instead to the Internet (a marketing ploy?). But little's been saved: Those timings would have fit into a space similar to that occupied by the direction to the web. Of course, listeners can merely copy those timings into the booklet directly from their CD players or computers. But that's a quibble, and almost all everyone will find that the performances, the recorded sound, and the instrument—as well the program itself—fuse into an irresistible, nearly overwhelming whole. Strongly recommended.
----------------------------------------------------------------------------------------GRAFSCHAFTER NACHRICHTEN: INNIGKEIT, AUSDRUCK UND HINGABE AN DIE MUSIK 19 November 2013 Grafschafter Nachrichten, Nordhorn Von Monika Neumann Innigkeit, Ausdruck und Hingabe an die Musik Klassik-Könnerinnen: Lisa Jacobs und Ksenia Kouzmenko Musik, die von Herzen kam, spielten Lisa Jacobs, Violine, und Ksenia Kouzmenko, Klavier, im letzten pro nota-Konzert dieses Jahres.
Auch wenn Lisa Jacobs mit diesem Ausdruck erst die auswendig vorgetragene Zugabe ankündigte, war doch das ganze Konzert bestimmt von Innigkeit, Ausdruckstiefe und Hingabe an die Musik. Mit ihrem Programm aus virtuosen, meist romantischen Stücken hatten die Künstlerinnen vielfältige Gefühle auszudrücken.
Einen Teufelspakt mussten sie nicht eingehen um Giuseppe Tartinis berühmtestes Werk, die Sonate für Violine und Klavier Nr. 4 g-Moll „Teufelstriller-Sonate“ zu spielen. Über schlicht barocker Grundlage brillierte Lisa Jacobs süß singend, lebendig und sehr musikalisch trotz aller Doppelgrifftriller, die ihre Finger tanzen ließen. Schon hier fiel Ksenia Kouzmenkos differenziertes sensibles Spiel auf, das der Geigerin stets gleichzeitig Gegenpart und Grundlage bot.
Lisa Jacobs – Reviews Die Triller-Kadenz dieser Sonate stammt aus der Feder Fritz Kreislers, dessen Salonstückchen – wie Bonbons – „Schön Rosmarin“ und „Liebesleid“ das Programm fortsetzten: zart und leicht getupft im Klavier, verspielt und schwärmend beziehungsweise sehnsüchtig warm in der Violine.
Lisa Jacobs führte charmant durch das Programm und erläuterte dabei auch die Besonderheit
des folgenden „Poème élégiaque“ für Violine und Klavier d-Moll op. 12 von Eugène Ysaÿe:
damit die Totenklage im Mittelteil dunkler klingt, wird die tiefste Saite der Geige einen ganzen Ton tiefer gestimmt, und dann spannte sich ein großer Bogen vom sanften Beginn an dramatisch aufblühend zu den langsam pulsierenden Totenglocken im Klavier mit düster lyrischer Geigenmelodie, noch einmal aufbrausend zu virtuoser Dramatik und schließlich abflauend zum sanften versöhnlichen Schluss.