Classicalsource 19/04/2017: Royal Philharmonic Orchestra/Charles Dutoit –Vadim Repin plays Prokofiev
…In his Violin Concerto No.2, Prokofiev was aiming at a Soviet-friendly clarity and simplicity, which Dutoit duly encouraged. Set against Repin’s questing, subtly individualistic self-containment, there developed a fascinating game of mood annexation, with Repin asserting a sense of spectral ambivalence in the first movement that leaked into the Romeo and Juliet-style lyricism of the slow movement.- Peter Reed – Full article
Le Devoir 26/10/2016 : Le grand Vadim Repin, enfin!
…Le 1er Concerto de Chostakovitch ne peut se jouer qu’avec fièvre et engagement. Tel fut le cas, ô combien. Le 1er de Chostakovitch de Repin n’est pas flamboyant, mais il est juste. Cette justesse esthétique vient d’un dosage très parcimonieux d’un vibrato serré. Ces larmes qui s’arrêtent toujours au bord des yeux, ce violon qui se plaint dans un champ de ruines, c’est exactement cela, le 1er Concerto de Chostakovitch. …Nous sommes vraiment heureux d’avoir retrouvé un Vadim Repin avec une vraie et sincère réflexion sur une oeuvre, alliée à une impérieuse envie de jouer. - Christophe Huss - Full article
Ncr.nl 25/09/2016: Theatraliteit en adembenemende verstilling bij Liss
Voor Sibelius’ Vioolconcert trad Vadim Repin aan, met wie Liss al vaker werkte. Repin ….bereikte met zijn onnavolgbare techniek en gruizige toon vooral instant-betovering. - Joep Stapel
Luxemburger Wort 19/11/2015: Vadim Repin & Tokyo Metropolitan
L’Andante assai s’ouvre ensuite sur une élégie du violon soliste associé aux poignants pizzicati des cordes graves. Un moment de pur bonheur avant que Vadim Repin ne s’élance à nouveau à l’assaut de la partition parsemée de belles mélodies, d’effets sonores et de diffilcultés techniques que le soliste surmonte avec bravoure.- Thierry Hick
Seenandheard-international.com 12/10/2015: A Stimulating and Satisfying Recital by Vadim Repin and Andrei Korobeinikov
Siberian-born violinist Vadim Repin and his fellow countryman, pianist Andrei Korobeinikov gave a supremely confident performance, which articulated such shared sentiments – musical, expressive and cultural – most powerfully.
The technical brilliance of Repin’s perfectly tuned multiple-stopping, incisive pizzicatos and astonishingly clear harmonics was matched by the clarity of Korobeinikov’s textures and his ability to find just the right colour for each of the movements: …
Bartók’s Rhapsody No.1 -… Repin was seemingly unruffled by its technical challenges, effortlessly capturing the spirit of the work too, and embracing its gypsy influences and Eastern-European fiddle-playing idioms and techniques…. Repin’s tone was full and grainy in the robust melodies, but the overall feeling was one of lamentation, enhanced at times by the sombreness of the piano’s drone-like accompaniment. Korobeinikov’s playing in these works was a revelation, not least because of the range of timbres which he coaxed from the Wigmore Hall’s Steinway. His was an equal voice with Repin’s violin, at times extraordinarily agile, at others coolly reflective; and I was constantly drawn to small details and dialogues that I had previously overlooked or undervalued.
Brahms’s Third Violin Sonata in D Minor was a wonderful conclusion to the recital; both violinist and pianist played with a gleaming legato that swept aside the elusiveness of the Intermezzos and shone with confidence. …. The violinist’s playing was characterised by elegance throughout. … The Presto agitato was fast and furious, the two performers engaging in an energised conversation marked equally by vehemence and co-dependence, and delivered with unwavering assurance and virtuosity. - Claire Seymour
The Independent 7/10/2015: Recital tests us as much as them.
Its first half was a bracing lesson in Soviet musical history.
…Their playing of the outer movements of the Schnittke took one’s breath away by its sheer power - Repin’s double-stopped figurations scything through the air - but his long passage in high harmonics was brilliantly managed.
Bartok’s Rhapsody No 1 BB94a, for which Repin became a village fiddler extracting an inexhaustible variety of colours and characters from his instrument, … Brahms’s Violin Sonata No 3 in D minor…, allowing Repin to take us out in a blaze of magnificence. - Michael Church
Examiner.com 8/03/2015: Vadim Repin made his Koerner Hall debut
He's been called the "Russian Paganini" and all it takes is seeing him live once to understand why. Vadim Repin, who made his Koerner Hall debut on March 6, is able to make the insanely difficult look everyday on his violin.
Debussy's "Sonata for Violin and Piano in G Minor" - …It's also a piece that enabled Repin to show why he's in a sparsely-occupied category of musicians: it's not just his technical ability, of being able to move his fingers from lighting-fast from low on the G string to playing octaves on the E, but of being able to dig deep into the subcontext of a piece and identify its ethos. But there were also plenty of passages that demanded Repin to be sharply technical and precise, such as the repetition of tremolos on double stops and making the highest notes sing with beauty.
During the second half — the part of the program with all Russian composers — Repin seem to come alive even more, ….Their performance of the two Tchaikovsky pieces, "Meditation" and "Valse-Scherzo", embodied everything characteristic of the Russian's compositions: there was a larger-than-life aspect to it with bold brush strokes, and yet a sense that beneath the grandiosity there lay unrevealed secrets.
Nouvelliste 23/02/2015: Quand le violon de Vadim Repin illumine la musique
Pour ce concert de gala, le virtuose russe était accompagné par l’Orchestre de chambre de Bruxelles, dirigé par Michael Guttman. Ce dernier s’est aussi produit en solo au violon, et en duo avec Vadim Repin lors d’un concerto pour deux violons de Vivaldi. Un moment de grâce durant lequel les deux musiciens ont affiché une très grande complicité, dans une joyeuse humeur. Une fois de plus, Vadim Repin a fait honneur à sa réputation: non seulement comme «magician du son», comme on le surnomme, mais aussi comme humain modeste et respectueux du public et de tous les musiciens qui l’accompagnent. - Chab Lathion