“Thalea String Quartet closes Flagler Music Series season in style.
...the Thalea’s quasi-symphonic approach was convincing. The sense of drama was well suited to the expansiveness of the masterwork and the sweeping contrasts effective.
In addition to the Germanic works, the Thalea Quartet performed two short pieces by American composers. Its take on Aaron Copland’s “Movement for String Quartet” was multicolored and technically secure, while the performance, as an encore, of William Grant Still’s “The Sentimental One (from the Lyric Quartette)” closed in a most sensitive manner a great 2019 Music Series.”
“Just when I thought our society was falling apart, along came the Thalea Quartet’s vivid, expansive performances! Their beautifully textured sound is enveloped by thrilling individual brilliance and highlighted by a rare, magnetic quartet sense emanating from every note they play. Hearing the Thalea Quartet makes me feel very happy and gives me hope for the future. They are great ambassadors for music.”
“There are string quartets and then there are string quartets. The Thalea String Quartet is the latter.”
“Sometimes you don’t need front row tickets at a full orchestra to see some of the most invigorating classical musical. Exhibit A: The Thalea String Quartet, the Bay-Area troupe of young musicians who play with the full passion (and then some) of a 90-person symphony. They’ve taken on Vivaldi, Mendelssohn and more, they’re refreshingly diverse and play with the tight-knit energy of any modern-day band. Plus, they’re on a mission to get rid of the anti-stuffiness associated with classical music and state on their website that “They are devoted to building a new and diverse audience for chamber music.” Music to our ears.”
“Typifying their Bay Area roots, the Thalea players are highly diverse, something of a musical United Nations. The multi-racial heterogeneity of the players is reflected in their soloistic personalities, at time whimsical and capricious, at times thoroughly unified. For those of us too often confronted by a touring foursome like peas from the same pod, this diversity is a stimulus.
Not born to be the meek shadow, second violinist Kumiko Sakamato could play first whenever needed. And silky first violinist Christopher Whitley is a thorough professional, detaching himself when needed as soloist, not with a rumble but rather with a genteel timbre and supple bow.”
CLICK HERE to read more about the world premiere of Vincent Calianno’s string quartet “A History of the String Quartet in its Natural Habitat.”
“… an energetic and strongly characterized performance …”
“Thalea served up a highly expressive evocation of its “sense of the moment,” which is almost haiku-like in nature.”
“The opening concert had a transatlantic theme, with a string quartet movement by Aaron Copland – played with high style by the Thalea Quartet from San Francisco.”
CLICK HERE to see images of our performance with BADBADNOTGOOD at the iconic Massey Hall as part of Red Bull Sound Select's #3DaysinTO.
KDFC's The State of the Arts with Jeffrey Freymann, Barbara Fritz Chamber Music Award and concert at the Berkeley Piano Club.
“Their Beethoven was replete with phrased nuance from first to last cadence, and spiky rhythmic energy saturated by the performance virtues of youthful exuberance, yet with carefully adjusted tone at remote key modulations.
Thalea never lacks in freshness of ideas – and they sought ways to shape their interpretive thinking, showing promise in how to martial their overall plan...
...the quartet is still growing and has the potential to be one of the finest of its generation.”
“Here was certainly technically proficient fugal playing...
Thalea Quartet was in pervasive command...
They showed a keen sense in particular of the polytonal passages found in the third movement, eloquently intoned by second violinist Kumiko Sakamoto whose contrasting melody line blended perfectly with the fine work in lower strings, who played in a contrapuntally contrasting, completely different key.
...Thalea never failed to deliver a stirring performance.
The last movement showed an uncanny comprehension for the traditional rondo’s semi-lighthearted character, with full kudos to violist Luis Bellorin who displayed exemplary tone throughout.”
“Please accept my humble thanks for your spectacular performance in Medicine Hat, Alberta. I have seldom experienced such committed, unified interpretations. As a cellist I was very appreciative of the superb co-ordination and masterful bow work demonstrated in each work. As a music lover, I reveled in the emotional spectrum you have at your constant disposal. As a performer, I marveled at the power you held over a deservedly rapt audience in moments of drama as well as expanses of dire austerity. I feel privileged to have heard you. I look forward to other occasions and make a personal plea that you address Luigi Nono’s Fragments and one of the marvelous Goffredo Petrassi quartets. May you continue to prosper and grow; the world of chamber music welcomes you.”