News

Eldbjørg Hemsing is a good fit for the concerto [Anders Hillborg’s Violin Concerto No.2/Liquid Marble]: a musician with a sense of the modern literary mysticism that is at the heart of Hillborg’s work.

Read More

Peter Danish

"Time seems to stand still when Ms. Hemsing plays... She was like the queen of her own little kingdom, and the audience her adoring subjects. On more than one occasion, the audience could not contain itself and burst into spontaneous ovations in the middle of the sections... I myself broke out into uncontrollable applause and the audience joined in with shouts of Brava!"

Read More

Alexandre Desplat

“She brings this pure sound. She doesn’t play romantic, she plays beautiful. There’s no other way of putting it. She understands that the melody lines that I write need to be pure, delicate and very much in tune.”

Read More

Kate Wakeling

“This excellent disc of violin concertos showcases Dun’s dexterity and imagination in writing for the instrument and features radiant and sophisticated performances from the violinist Eldbjørg Hemsing.”

Read More

"There's simply a freshness, vitality and richness of nuance in the game that I find enormously appealing."

Read More:

Richard Bratby

"If you hear Grieg’s violin sonatas as wild, fantastic tales of adventure and romance from the distant north, these three magnificent performances should certainly hit the spot."

Read More

Jean Lacroix

"Eldbjørg Hemsing thrills with a blend of delicacy, dance-like grace, and fiery passion."

Read More

James Manheim

“Hemsing’s violin work is top-notch, as is the sound from Stockholm's Berwaldhallen.”

Read More

Marita Kasischke

"Hemsing performed fast runs, almost breathtakingly fast runs, with brilliant virtuosity, and even in the fastest passages, she did not lose the soulful depth... and expressed in fierce passion."

Wolfram Goertz

"Eldbjørg Hemsing, the new queen of the violin, truly captivates everyone."

Read More

Uwe Krusch

“With these [violin] sonatas, Grieg wanted to show the world that he also mastered large formats. Perhaps this is why Eldbjørg Hemsing’s interpretations emphasize the mature side of the compositions and leave only the absolutely necessary space for song and dance. Nevertheless, she manages to keep up the momentum and temperament.”

Read More

Olav Egil Aune

"Hemsing sang it [Tchaikovsky’s Violin Concerto] with trembling calmness, and freedom that made the music breathe…one should have heard Hemsing and the Oslo Philharmonic this evening, which was full-bodied and strong… "

Read More

Camilla Lundberg

“Breathtaking playing in this sometimes super cool, sometimes fiery music from 2016 that Eldbjørg tackles like a firework.”

Nathan Faro

“This [Rolf Wallin’s 5 Seasons] is an excellent album for adventurous listeners; there is enough novelty to hold the ear’s attention, yet it challenges the mind and senses alike. …Ida Nielsen, Eldbjorg Hemsing, and Wu Wei give compelling and engaging solo performances, especially considering the ephemeral nature of the music. They are matched by excellent performances from the Stavanger Symphony under the direction of Andris Poga.

© 2024 American Record Guide”

Hubert Culot

“One cannot but admire Eldbjørg Hemsing’s immaculate technique and incomparable stamina in dealing with the fiendishly difficult solo part.”

Gunilla Brodrej

“Eldbjørg Hemsing plays Hillborg's second violin concerto with breathtaking virtuosity, sometimes caressingly.”

Azusa Ueno

"Hemsing and Trpčeski present a fine performance with a narrative character: the music takes a descriptive, almost visual quality, thanks to their striking musicality. […] The violinist opens just as imaginatively, with her energetic, almost breathless playing that reflects the youthfulness of the writing."

Read More

Azusa Ueno

"Hemsing has a rare, diaphanous sound quality which complements well the whimsical character of the first Sonata. But that is not to say that she plays everything softly or gently; where there needs to be power or passion, her playing is full and declarative. The second movement shows her technical abilities, though not merely in a virtuosic sense: her remarkable bow control results in an impeccable clarity, that still allows the instrument to take on different personalities."

Read More

"It is when the sound streams out of the speakers that it becomes more than clear that Eldbjørg Hemsing is the real thing. Elements from folk music are an integral and natural part of her playing style. These are marked by the bouncy of the strokes, the mercury-like ornaments, the flexible use of vibrato, the superb rhythmic precision of the double strokes, and the unsentimental right-to-point approach to Grieg’s dewy sonatas. It is simply a freshness, vitality and nuance of the game that I find to be extremely appealing."

Dr. Ingobert Waltenberger

"Fascinating is the dream-like cooperation between Eldbjørg Hemsing and Simon Trpčeski in dynamics and pace, the ball being delivered and picked up, the artful dribbling, the gestural liveliness of their interaction."

Read More

Julian Haylock

"[Eldbjørg Hemsing] sustains high standards of intonational purity and beguiling tonal lustre throughout even most awkward of passages. She also shapes phrases with a chamber-scale dynamic suppleness, in contrast to the majority of recorded players, whose tendency towards special pleading often leads to over-projection....Hemsing hurling herself into the fray with an almost Heifetz-like intensity and swashbuckling bravado."

Read More

Kate Wakeling

“Hemsing plays this endlessly tender ‘love song’ [‘Liebeslied’] with a perfect blend of heart and restraint.”

“While some of Tan Dun’s ideas may seem rather overextended at times…what comes across most powerfully here is the dynamic three-way synergetic split between Tan Dun as conductor, Eldbjørg Hemsing’s striking characterisation of the solo violin’s material, and the sheer force and power of the Oslo Philharmonic Orchestra. Recommended.“

Catherine Nelson

“The shared, gorgeous melody of strings and soloist in the fourth movement gives way to a final, sorrowing melody from the violin, perfectly judged by Hemsing: a haunting end to a compelling disc.”

Read More