The artist sent her sound up to the sparkling Mosaic of the Octagon with a smile and elegant bow-strokes. With her singing violin she let the music of Johann Sebastian Bach shine.
Ariadne Daskalakis, American with Greek heritage, impressed with her technical surety, her finely sensitive, sometimes very personal interpretation and the great warmth of her playing in the A-minor concerto.
(with the Aachen Domorchester under Berthold Botzet)
Antonio Vivaldo: "7 with one Stroke" (Tacet CD: Concertos by Antonio Vivaldi; Stuttgart Chamber Orchestra; Ariadne Daskalakis, Artistic Direction) ...The Stuttgart Chamber Orchestra plays on modern instruments, yet historically informed, with the advantage that the singing quality is in the foreground, as opposed to noises often used for effect. That's an advantage of this recording, as is the the technical flexibility and brilliance of the musicians...
Ariadne Daskalakis, American of Greek heritage, assumed the Musical Direction for this CD. Her artistry earns her the name "Universal Specialist". Her repertoire is broad and yet she is always stylistically secure and absolutely at home with the material - for example in the wonderful A-minor double concerto with [Wolfgang] Kussmaul. This Vivaldi succeeds with a cheerful lightness, based on the sheer strength of the music and without any caricature - thank goodness! "Seven with One Stroke" - these seven have indeed met their mark!
...with the Kammerakademie Potsdam and Mariya Krasnyuk under Konrad Junghänel
„Daskalakis’ auf einer kostbaren Guadagnini-Geige erzeugter Ton ist gestochen sauber und klar, vibratoarm, aber nie spröde. Bei aller Akribie historisch orientierter Musizierweise bleibt ihr und der Musiker Spiel immer lebendig und locker, unaufhörlich pulsierend. Kaleidoskopartig blättern sie das Geschehen an einem von lähmender Hitze erfüllten „Sommer“-Tag auf, der mit jähen Stimmungswechseln zwischen lastender Sonnenglut, unruhevollen Ahnungen und urgewaltigem Unwetter nicht spart.
...im leichtfüßigen italienischen Gusto ist Johann Sebastian Bachs d-Moll-Konzert...Der Klangfarbenwechsel in andere nunmehr gedecktere Gefilde gelingt allen Beteiligten vorzüglich. Des virtuosen, lebhaften und energischen Wettstreitens scheint kein Ende, das von Ariadne Daskalakis und ihrer Schülerin Mariya Krasnyuk bestimmt wird und von den mitreißenden Intentionen des Dirigenten erheblich profitiert. Leicht, locker und elegant...um schließlich in affektgeladenem Furor zu landen.“
...with the Kammerakademie Potsdam and Mariya Krasnyuk under Konrad Junghänel
„ ‚Frühling’ und ‚Sommer’ aus Vivaldi’s ‚Vier Jahreszeiten’ klangen sehr profiliert...Selbstverständliche Virtuosität war immer ins Ganze integriert; wunderbar flüssig das Zusammenspiel von Solistinnen und Orchester in Bachs Doppelkonzert d-moll BWV 1043.“
„...The program dedicated to Antonio Vivaldi was played so freely and sensitively by the strings under Ariadne Daskalakis’ leadership, that no one thought even to ask about a conductor...Highlights were two works from the famous collection ‚L’estro armonico’: the VIolin Concerto in a minor and the Concerto for 4 VIolins in b minor.
Daskalakis already played the violin concerto with such sensitivity and fullness of tone, as she also later beautifully led the solo-Quartet...“
with the Sinfonietta Köln under Cornelius Frohwein "… Then something happens, as if one suddenly should unpack an unexpected gift whose contents already seem to be familiar. The symphonies of the two Haydn brothers are perfectly complemented by the magnificent Violin Concerto K. 219 by Mozart. It is the main present of the evening. The Greek-American virtuoso soloist Ariadne Daskalakis performs this work ideally: energetically and at the same time with great sensitivity.
The tonal balance with the orchestra is not compromised in any moment. With little vibrato, not following the characteristic romantic style of performance, which unfortunately is heard all too often these days, Daskalakis embraces the warm tone of the score. The violinist makes nuances visible, is vigorous where it is needed without merely pursuing effects. Her instrument, a valuable Guadagnini, which any reasonably ambitious violinist would long for, gives rise to such a soft tonal painting, that it warms the heart. This is especially touching in the adagio movement. With this Mozartian palette full of singing lines she draws almost an impressionistic watercolor on the imaginary canvas. With vigor, but never in a hurry, always making the best use of the material, Daskalakis shapes the final rondo. Enriched with gypsy nuances she achieves a stunning effect."
“…The contrast to the next piece in the program is remarkable. The Concerto in A Major for Violin and Orchestra, K.V. 219 by Wolfgang Amadeus Mozart (1756-1791), is anything but a rarity. For violinists, it provides a welcome opportunity to show technical perfection as well as musical intuition and empathy. For audiences it also has its appeal, because despite its upscale, even classical compositional levels it still has the grace and light entertainment of courtly music. After all, it is a work of the still relatively young Mozart. Already in the first movement, performed extremely fresh and accentuated by violinist Ariadne Daskalakis, one is struck by the sovereign genius of Mozart. Bar for bar, it is far removed from mere technical perfection. Again and again, with a wink of the eye, Mozart places humorous, witty turns of phrase, which the soloist knew exactly how to handle. She showed a Mozart who composed very seriously at the highest level but who did not take everything all too seriously, and who still wants to have his fun. The serious aspects were particularly impressive in the very sensitive and technically perfectly played cadenza of the first movement and throughout the whole slow middle movement, in which Ariadne Daskalakis impressed with her sensitive lyrical tone, without lapsing into simple sentimentality. Wonderfully lively, witty and full of intensity, the violin concerto came to an end.”
„These performers give pride of place to the five echt violin sonats, but acknowledge the merits of the four doubtful ones... Their readings demonstrate remarkable flair and individuality, as well as an instinctive sense of style.
Ariadne Daskalakis makes her violin sing eloquently in the slow movements...Her athletic fingers zip through Handel’s lively fast movements, particularly the fugato Allegros...played with striking panache...The recording has exemplary clarity, yet warmth too.
Manon Quartet Berlin with Lorenzo Coppolla, Clarinet
„...das herzerwärmendes Musizieren des Ensembles! Klangsinnlich und leidenschaftlich geht es immerfort zu, verströmen sich gleichsam singende Liebesbekundungen auf die lieblichste Weise. Kurzum: Verinnerlichung pur. Dabei begeistert die Leichtigkeit der Tonbildung aller Instrumente, ihre Flexibilität, ihr Farbenreichtum. Was zu einer atemberaubender Intensität des Leisen führt.“
„...die Suite von Igor Stravinsky ‚Suite Italienne’ für Violine und Klavier...Im Vortrag von Ariadne Daskalakis und Alexander Zolotarev vereinten sich Klangsinn und Gefühl, Geist und Vitalität aufs Schönste. Melodiös und spielerisch entfalten die Sätze ihren Ausdruck. Für die Interpretation von Peter Tschaikowskys beliebten ‚Trio Op. 50’...Die drei Musiker ließen das Musizierfeuer lodern und schufen ein weit umspannendes Musikkunstwerk von gewaltiger Wirkung...Mit stehenden Ovationen bedankten sich die Zuhörer am Schluss für das gelungene Konzert.“
"The soloist Ariadne Daskalakis seems to enjoy testing her concentration: being turned upside down while simultaneously playing Vivaldi’s “Four Seasons” – that demands physical and mental stamina. Ariadne Daskalakis’ rendition of the baroque cycle is full of poetry in spite of the gymnastics. Her violin sings with passion and tenderness, with marvelous ease. The performance by the Academy of Ancient Music Berlin appeals largely thanks to its magical sound and colors."Monika Lanzendörfer, Mannheimer Morgen, February 18, 2011
"Violin virtuoso Ariadne Daskalakis attended to unmistakable 'historical performance practice', …. Daskalakis’ impeccable intonation fulfilled highest expectations. Her dynamic playing charmed in the Handel Sonata and even further in the strong-willed rhapsodic variations by H.I. F. Biber."Albrecht Zimmermann, Badische Neueste Nachrichten, January 18, 2011
"The light, well-rounded and yet well-contoured sound of the ensemble was wonderful. A highlight was Bach’s E-Major Violin Concerto BV 1042, with Daskalakis as soloist. The collaboration with the Professor of the Cologne Conservatory can only be called successful. Sie brought Bach’s music to life with a flexible sound and silky sheen. Especially beautiful were the soft passages in the Adagio.”Matthias Corvin, Kölnischer Rundschau, December 17, 2010
…the contrasted sweetness and strength of Ariadne Daskalakis’ tone emphasise the quality of Bach’s G major Sonata.
In Biber’s ‘Annunciation’ Sonata her florid flourishes elicit sedate processional images as well as boisterous rustic scenes.
Trio Vintage delighted in the strange effects the players were called upon to deliver, and the works by the minor composers flowed nicely too.
… the musical approach was always decisive, the tone huskily distinctive…
... Ariadne Daskalakis, youngest Violin Professor in Cologne since 2000, was brilliant as the soloist. It was wonderful how she expressed enraptured intimacy in her playing. In the last movement 'typical Bernstein' flared up: jazz-influenced passion with rhythmic percussion episodes.Christoph Bingel, Westfälische Rundschau , February 12, 2009
'Celebrated: Ariadne Daskalakis' ...the young violinist Ariadne Daskalakis masters the solo violin part with as much dreamlike singing as rhythmic power, and she rises with perfection to stratospheric heights. The public celebrates the soloist with enthusiasm and receives a movement of Bach as an encore.Monika Willer, Westfalenpost, February 12, 2009
"...The first half of the concert was dominated by Beethoven's Violin Concerto, performed by Ariadne Daskalakis. Her sound was powerful and confident. The structural unity of the concerto was performed with clarity... The middle movement was performed with delicacy and sensitivity. Daskalakis' clear, round and tonally secure sound was especially appreciated. In the third movement... the violinist showed power and expression and concluded the concerto with success."Nikos Dontas, Kathimerini, January 18, 2009
"Eyecontact with the Virtuoso" Fresh Wind in the Cologne Philharmonie's Series 'Masterworks' ...The orchestra had already made an award-winning quality recording of Tartini Violin Concertos with the fabulous violinist and Cologne Professor Ariadne Daskalakis. They performed Tartini and Haydn in historical tradition without conductor, opting for direct contact between the orchestra and the virtuoso. She resisted heaviness in the carefree passages, and let her violin dance and sparkle its way through the remarkably difficult material.Cologne StadtAnzeiger, December 12, 2008
"Elegance til the last Note." ... Highlights of the richly varied program were the performances of violinist Ariadne Daskalakis. She performed two A-Major concertos by Tartini and Haydn as soloist and leader with lightness, tasteful vibrato and intelligent interaction with the orchestra. She formed the Adagios with feeling and poetry and the fast movements with dream-perfect elegance and energy.Cologne Rundschau, December 9, 2008
"Daskalakis captured the emotion and its subtleties with her beautifully sounding instrument. She approached the one-movement work with energy and strength, doing justice to its structure while exploring the depths of her sound and overflowing with passion."Lüdenscheider Nachrichten, 18 February 08
"The highlight was Ludwig van Beethoven's famous Violin Concerto… Ariadne Daskalakis unfolded a soulful, intimate, melting tone, whose bewitching beauty commanded the listeners' attention in spite of the open-air conditions... Ariadne Daskalakis attacked the Rondo with commanding form"Hanna Styrie, Kölnische Rundschau, 20 August 2007
[...] Ariadne Daskalakis highlighted the warm tone colors of her baroque violin, especially in the lower registers, and captivated the audience with her resonant double stops. The dialogue between the violin and the woodwinds was as light as a feather, with Daskalakis accentuating slightly more than her colleagues. [...]Oberhessische Presse, September 2006
"Performances were top-shelf wonderful, among the best heard all season. Festival organizers Carol Rodland and Michael Norsworthy, joined by Ariadne Daskalakis, Scott Kluksdahl and Max Levinson, played as if their very lives depended on it. All aspects of execution - pitch, tone, technique, pacing, interpretation - were flawless, as were chamber interaction and blend."David Cleary, "new music connoisseur", June 2006