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Press Acclaim

"Brilliant soloist" -The New York Times

"Marvellous and lyrical playing" -Strad Magazine

"[It was] an eclectic program, which made it possible to gauge the interpreter's excellent technical mastery. . .One very seldom hears this very beautiful piece by Elliott Carter [Rhapsodic Musings] and Emilie-Anne Gendron knew how to make poetry out of it. . .What is striking in this young violinist is the remarkable security of her bow arm. . .the right hand is never mislaid and allows her to maintain a sensual sound from pianissimo to fortissimo." -ClassiqueInfo, translated from French

"Superb" -Philadelphia Inquirer

"Gendron. . .played with verve, intellect, expression, and impressive instrumental skill. . .[and] with clear articulation, certain rhythm, and exact intonation. She was also expressively agile, running the gamut of Ysaÿe’s mercurial doubts and triumphs." -New York Classical Review

"Here [in Penderecki's Clarinet Quartet] Gendron had a remarkably icy sounding and deeply moving violin solo..." -Hyde Park Herald

"[Clarinetist Anthony] McGill’s seamless fluency and plangent tone [in Penderecki's Clarinet Quartet] were especially inspired along with Gendron’s sensitive violin work" -Chicago Classical Review

"Gorgeous sound" -Boston Musical Intelligencer

"First violinist Emilie-Anne Gendron gave a romantic, never cloying sweetness in the third movement [of Beethoven Quartet Op. 135], as if to say that Beethoven’s serenity was inspired by human emotions." -ConcertoNet

"Unlike many conservatory-trained string players, Emilie-Anne Gendron was not afraid play her violin with more rugged, forceful, and daring articulations." -I Care If You Listen

"Robust and brilliant playing" -Le Nouvelliste (Switzerland), translated from French

"The rugged temperament of Autumn [in Piazzolla's Four Seasons] found, in Emilie-Anne Gendron, a purveyor of a warm sound that glowed with gorgeous color." –Anaclase, translated from French

"Outstanding. . .A poised soloist. . .In the second movement Scherzo [of Shostakovich's Violin Concerto No. 1], a fiendishly difficult work with multi-layered counterpoint and rapid syncopation, Gendron was as accurate as clockwork. In the intensely lyrical third movement Passacaglia, she was as smooth as silk, weaving the beautiful melodies over the exotic, repeating bass. Bridging the Passacaglia to the final movement, Burlesque, is an extended cadenza that served to highlight Gendron’s lyrical prowess as well as her remarkable facility. In the finale she showed the potential of her power. . ." -The Kalamazoo Gazette