Vilde Frang

Introduction

Vilde Frang was unanimously awarded the Credit Suisse Young Artist Award in 2012 and made her debut with the Vienna Philharmonic under Bernard Haitink at the Lucerne Festival.

Highlights among her recent and forthcoming solo engagements include performances with the Mahler Chamber Orchestra, Philharmonia, London Philharmonic, Konzerthaus-Orchester Berlin, Symphonieorchester des Bayerischen Rundfunks, Orchestre de Paris, Tonhalle-Orchester Zurich, St. Petersburg Philharmonic, Sydney Symphony and the NHK Symphony in Tokyo, with conductors including Vladimir Ashkenazy, Mariss Jansons, Ivan Fischer, Krzysztof Urbanski, Vladimir Jurowski, Vasily Petrenko, Jakub Hrusa, Paavo Järvi, Esa-Pekka Salonen and Yuri Temirkanov.

A keen chamber musician, Vilde regularly appears at festivals in Salzburg, Verbier, Lucerne, London Proms, Rheingau, Mecklenburg-Vorpommern, Lockenhaus, George Enescu Festival and the Prague Spring Music Festival. Amongst her collaborators were Gidon Kremer, Yuri Bashmet, Lawrence Power, Nicolas Altstaedt, Steven Isserlis, Truls Mørk, Leif-Ove Andsnes, Martha Argerich and the Ébène Quartet.

Vilde has toured internationally with her recital partner Michail Lifits. The duo have performed at venues including the Concertgebouw, Musikverein, Philharmonie Berlin, Wigmore Hall, Royal Albert Hall, Tonhalle Zurich, Bozar Brussels as well as part of the Vancouver Recital Series, Boston Celebrity Series, San Francisco Performances, and at Carnegie Hall.

Vilde Frang is an exclusive Warner Classics artist and her recordings have received numerous awards. She is the recipient of the Edison Klassiek Award, Classic BRIT Award, “Editor’s Choice by Gramophone Magazine, “Diapason d’Or” by Diapason Magazine, Deutsche Schallplattenpreis and Echo Klassik Award. Her most recent release of Mozart Violin Concertos has received critical acclaim.

Born in Norway in 1986, Vilde was engaged by Mariss Jansons at the age of twelve to debut with Oslo Philharmonic Orchestra.  She studied at Barratt Due Musikkinstitutt in Oslo, with Kolja Blacher at Musikhochschule Hamburg and Ana Chumachenco at the Kronberg Academy. She has also worked with Mitsuko Uchida as a Borletti-Buitoni Trust Fellowship winner 2007, and was a scholarship-holder 2003-2009 in the Anne-Sophie Mutter Foundation.

Vilde Frang performs on a Jean-Baptiste Vuillaume from 1864.

For further information, please contact Olivia Patton


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Mozart

Violin Concerto No.5: 19 July 2015

Orchestra Filarmonica della Scala/Marc Minkowski, Teatro alla Scala, Milan

Tecnica perfetta, suono calibrato, sensibilita' profonda. Chi ancora non ha avuto modo di conoscerla, corra ad ascoltarla. Luigi di Fronzo, Tutto Milano

Korngold

Violin Concerto: 5 March 2015

Leipzig Gewandhausorchester/Andres Orozco-Estrada, Gewandhaus, Leipzig

Mittlerweile haben viele Geigen-Virtuosen es wie selbstverständlich im Repertoire, auch die 1986 geborene Norwegerin Vilde Frang. Sie legt das D-Dur-Konzert im Gewandhaus verblüffend hell an. Nirgends mulmt da Hollywood-Pathos, den weit gespannten Bögen des Kopfsatzes, modelliert nach der Filmmusik zu "Another Dawn", haftet nichts Unschickliches an. Mit liedhafter Innigkeit und tief empfundener Noblesse singt sie die herrlichen Melodien des Moderato aus. Die Emphase der Romanze (nach "Anthony Adverse") erreicht ohne Umwege die Herzen. Den halsbrecherischen Kehraus des Finales (über Material aus "The Prince and the Pauper") bettet Vilde Frang in gewitzte Leichtigkeit. Dass dieses Konzert richtig schwer ist, man merkt es kaum angesichts der überlegenen Selbstverständlichkeit, mit der die junge Norwegerin aus den vielen Tönen Musik macht. Peter Korfmacher, Leipziger Volkzeitung

Bruch

Violin Concerto: 5 February 2015

NSO Washington/Juraj Valcuha, Kennedy Center for the Performing Arts, Washington DC

Appearing as if out of a painting by Dante Gabriel Rossetti, with a cloud of red-brown hair, she tucked into the Bruch concerto with an inward focus that drew the listener toward her, pulled into the vortex of compelling sound rather than trying to impress with a huge flourish. Her phrasing was exquisite. Anne Midgette, The Washington Post

Bartok

Violin Concerto No.1: 14 January 2015

Vienna Symphony Orchestra/Jonathan Nott, Musikverein, Vienna

Virtuos, kapriziös und zärtlich agierte vor der Pause die Norwegerin Vilde Frang als Solistin des ersten Violinkonzerts von Béla Bartók. Kleine Zeitung

Britten

Violin Concerto: 2 May 2014

Royal Scottish National Orchestra/Thomas Sondergaard, Usher Hall, Edinburgh

**** There was an exquisite synergy between the orchestra, Thomas Søndergård, principal guest conductor, and soloist Vilde Frang. Her approach exuded just the right balance of dreamy lyricism and gut-wrenching emotion and she wore the virtuosity demanded extremely lightly. Susan Nickalls, The Scotsman
Frang’s approach was raw and tetchy, full of jagged aggressiveness. Grasping the major/minor contrasts of Britten’s tussling score, her cadenza was one of guarded emotion suddenly laid bare, both questing and alone. Sarah Urwin Jones, The Times

Prokofiev

Violin Concerto No.2: US Tour 23 February-4 March 2014

St Petersburg Philharmonic/Yuri Temirkanov

San Diego - 28 February 2014

The Prokofiev concerto was just what you’d expect, and in a good way. Temirkanov and Frang stressed the works innate lyrical qualities, even in the percussive, decidedly unlyrical final movement.

Frang, an immensely talented young Norwegian violinist, has the all-too-rare combination of beauty of tone and incisiveness. Her approach to the concerto was clear, convincing and communicative.

The orchestra members appreciated her playing enough that they, rather than the audience, continued applauding and prompted her to play an encore (a contemporary arrangement of a Norwegian folk tune).

James Chute, UT San Diego
San Francisco - 3 March 2014
Vilde Frang, 28, from Norway, played the solo in the Prokofiev Second Violin Concerto with a stunning combination of flawless technique and palpable, appealing emotion — her single appearance here only whets the appetite for many more returns. Janos Gereben, San Francisco Classical Voice

Britten

Violin Concerto: 14 December 2013

Sydney Symphony Orchestra/James Gaffigan, Sydney Opera House

Young Norwegian violinist Vilde Frang approached the violin part of Britten's concerto like a dramatic monologue, extracting the emotional resonance of every moment while skillfully dealing with the technical demands of the writing. Britten requires the violin to play frequently in harmonics, and here Frang's tone was purity itself. Her attack in the scherzo's aggressive passages and her pared-back tone in the final sections of the passacaglia bespoke her total involvement in the music. The orchestra's contribution was equally impressive: altogether a distinguished performance of a work that is belatedly entering the repertoire. Phillip Scott, Limelight
Her Stradivarius and her technique produced an extraordinary variety of sounds from what is a hellishly difficult piece to play. She seemed always in control through the numerous passages of double stops and finger-splitting plucking. Sometimes the score called for playing on one string while simultaneously plucking another. It was an awesome performance, sometimes violent and sometimes ghostly. Fraser Beath McEwing, J-Wire

Korngold

Violin Concerto: 24 November 2013:

Royal Liverpool Philharmonic/Vasily Petrenko, Liverpool Philharmonic Hall

****Norwegian violinist Vilde Frang was soloist in Korngold’s Violin Concerto. A stunningly witty and virtuoso player...the violin laughed its way through the opening movement in a fun, confident mood before moving into introspective for the Romance.
Glyn Mon Hughes, Liverpool Daily Post

Britten

Violin Concerto: 21 November 2013

Royal Liverpool Philharmonic/Vasily Petrenko, Liverpool Philharmonic Hall

A Stradivarius-wielding Norwegian Pre-Raphelite who turned her instrument into a songbird, singing a romantic, rhapsodic refrain over the Phil’s impassioned, furious scherzo before launching her own musical assault that showed there is an iron fist in the velvet glove. Catherine Jones, Liverpool Echo

Duo Recital: 15 July 2013

Michail Lifits (Piano), BBC PROMS, Cadogan Hall, London

Norwegian violinist Vilde Frang's Proms debut was ample proof of her abilities. In Ravel's late Violin Sonata, she revealed lucid depths and brilliant clarity, and her long-standing partnership with Michail Lifits felt instinctive and communicative. Ravel toiled long and hard over this work, but Frang and Lifits brought flashes of spontaneity, that belied the composer's arduous effort...The programme was completed with centenarian Lutoslawski's Partita...As with so many of the extended forms of this composer, Partita's gradual accretion of momentum and rage was plain to hear, and was all the more affecting for Frang and Lifit's expressive directness, the violinist displayed a dizzying array of colourful effects and the pianist drawing startling volume from his instrument. Together they were terrifically incisive. Andrew Morris, ClassicalSource.com

Duo Recital: 8 April 2013

Michail Lifits (Piano) Tonhalle, Zurich

Sie ist kein Geigen-Girlie, sie ist keine Geigen-Domina; sie gibt nicht die Schlangenfängerin, noch strebt sie nach sportlicher Höchstleistung - Vilde frang ist nur sich selbst. Ganz einfach, ganz natürlich. Und so, wie sie ist, so spielt sie; ihr zuzuhören, hat etwas Befreiendes und deshalb Beglückendes - übrigens gerade dadurch, dass es einen so in Bann schlägt und so intensiv mitschwingen lässt Peter Hagmann, Neue Zurcher Zeitung

Duo Recital: 25 March 2013

Michail Lifits (Piano), Wigmore Hall, London

***** The 24-year-old Norwegian violinist Vilde Frang – who looks as if she’s stepped out of a Pre-Raphaelite painting – has a line as clean and pure as Mullova’s. And in tandem with the Uzbek pianist Michail Lifits she gave an account of Mendelssohn’s ‘Sonata in F’ which was both full-blooded and finely nuanced, with Lifits delivering the whirlwind figurations of the finale at a speed which took the breath away. Lutoslawski’s ‘Partita for Violin and Piano’ calls several times for both players to improvise before simultaneously arriving at the same end-point, and they met this challenge effortlessly, before zapping us with three richly-coloured Hungarian Dances by Brahms. Michael Church, The Independent

Duo Recital: 27 January 2013

Michail Lifits (Piano), Kennedy Center for Performing Arts, Washington DC

Frang’s playing is at once assured and slightly coltish — an appropriate sign of an artist whose range includes wide extremes without ever lapsing into excesses. She plays with a big, wide vibrato yet managed to make it sound perfectly idiomatic in the Fauré; she plays with plenty of fire and expression, yet can rein herself in with stylishness, pulling back to give a repeated phrase a touch of extra polish. Most importantly, she plays with a sense of enjoyment, a hint of sunniness even in fraught moments... We’ll be hearing Frang again in larger halls, with major orchestras; it will be a pleasure to watch her grow. Anne Midgette, The Washington Post

Tchaikovsky

Violin Concerto: 5 December 2012

Bournemouth Symphony Orchestra/Danail Rachev, Poole Lighthouse

A debut with the BSO that must rank as the finest this season. There is a maturity about the 26 year-old Norwegian violinist Vilde Frang that established a personal interpretation of Tchaikovsky’s Violin Concerto; intuitive and ravishing. Her alluringly rich, creamy tone captivated from the start, sensitively nuancing every phrase and projecting the cadenza with arresting precision.

In the slow movement her magical, mellifluous finesse harboured seductive exchanges with the wind players and in the finale, her feisty lead-in bore further facets of fiendish virtuosity. Hitting the harmonics with subtle gracefulness and finding both depth and daring, Frang’s impeccable delivery was matched by Danail Rachev’s empathetic direction and rapport. Mike Marsh, Bournemouth Echo

Tchaikovsky

Violin Concerto: 24 March 2012

BBC National Orchestra of Wales/Jac van Steen, Aberystwyth Arts Centre

The highlight of the evening was the solo performance of Tchaikovsky’s well known Violin Concerto by the prolifically talented twenty-five year old Norwegian Vilde Frang. A soloist from the age of twelve, Frang executed every note of this piece, often considered the greatest test of a violinist’s skill, with delicacy and fluidity. Playing a piece with more false endings than the Lord of the Rings, each resurgence remained a pleasure to the ear. Cei Whitehouse, Aber Student Media

Mozart

Violin Concerto No.5: 20 November 2011

BBC Scottish Symphony Orchestra/Donald Runnicles, City Halls, Glasgow

The feisty young soloist Vilde Frang...The Norwegian's playing is entirely her own Kate Molleson, The Guardian

Duo Recital: 16 October 2011

Michail Lifits (Piano), Lincoln Center, New York

Vilde Frang launched into her local debut recital at Lincoln Center's Walter Reade Theater with one of Bartók's most strenuous and uningratiating pieces - his solo Violin Sonata of 1944. The piece was a savvy statement of purpose for Frang and she negotiated its jagged chords and barbed dissonances with insouciant ease. It was a promising first impresssion. Pianist Michail Lifits joined her for two Heifetz arrangements of Albéniz: his El Puerto and Sevilla. Here Frang created the sense of carefree ease that the music demands, supported by a refined tone, crisp articulations and a stylish, organic rubato. Brian Wise, The Strad

Mozart

Violin Concerto No.5: 10 June 2011

Academy of St Martin in the Fields/Kenneth Sillito, Kaisersaal, Wurzburg

The violin virtuoso Vilde Frang knows exactly what she wants. The 24 year old Norwegian made this clear at the Würzburg Mozart Festival where she played Mozart's A Major Violin Concerto to a sold-out hall.
The brilliant violinist is technically of the highest level with fantastic finger work and bow technique. She presented the piece in a fresh manner, such as is rarely heard.
The noble and sonorous sound of her violin exactly matched the virtuoso's thrilling performance. She performed the hair-raising passages in the first and last movements with style and energy.
Frank Kupke, MainPostWürzburg
The concert was a real experience, Vilde Frang was particularly impressive: a fusion of high technical ability and charismatic artistic realization. Udo Watter, Süddeutsche Zeitung

Sibelius

Violin Concerto: 12 April 2011

NordwestDeutsche Philharmonie/Eugene Tzigane, Conservatorio G. Verdi, Milan

For her Italian debut, the young violinist Vilde Frang, now no longer a star in her infancy but already a well-established artist on the international concert scene, presented Sibelius...Vilde Frang enchanted the audience at the Sala Verdi, Conservatorio di Milano with great ease through her precision and technical maturity...Her youthful determination burst forth in the third movement, where Frang found the ideal moment to prove her ability and skill. Silvia Corbetti, Archi Magazine

Sibelius

Violin Concerto: 6 December 2010

BBC National Orchestra of Wales/Thomas Sondergard, Hoddinot Hall, Cardiff

The revelation of the evening, though, was the 24-year-old Norwegian violinist Vilde Frang, whose performance of the Sibelius Violin Concerto was nothing short of sensational. Frang is clearly a new star in the violin firmament. Naturally poised and quite without affectation, she began with such hushed, gossamer tones as to give no inkling of the fierce untamed power of the playing that then emerged. The concerto burst into life with this combination of piercing intelligence and intense passion, and the partnership with Søndergård – Frang recently recorded the work with him – gave Sibelius' fundamentally symphonic vision a thrilling vibrancy. The BBCNOW strings responded with luscious depth – clearly the best compliment they could pay Frang. Rian Evans, The Guardian

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Recordings

Mozart

Violin Concertos 1 & 5
Sinfonia Concertante
Vilde Frang, Violin
Maxim Rysanov, Viola
Arcangelo/Jonathan Cohen
Warner Classics