Vilde Frang

©Marco Borggreve


Vilde Frang’s profound musicianship and exceptional lyricism has elevated her as one of the leading and most individual young artists.

In 2012 she was unanimously awarded the Credit Suisse Young Artists Award which led to her debut with the Wiener Philharmoniker under Bernard Haitink at the Lucerne Festival.

Regularly appearing with the world’s leading orchestras, 2016 saw Vilde make her acclaimed debut with the Berliner Philharmoniker under Sir Simon Rattle as part of their Europa Konzert; she returned during the 17-18 season for subscription concerts at the Philharmonie and the Baden Baden Easter Festival with Ivan Fischer. Other recent highlights have included performances with the San Francisco and Pittsburgh Symphonies, Munich and LA Philharmonics, Bamberger Symphoniker, Leipzig Gewandhaus Orchester, Orchestre de Paris and Frankfurt Radio Symphony Orchestra, as well as extensive European tours with the Deutsche Symphonie Orchester Berlin and the Orchestre Philharmonique de Luxembourg.

The 2020-21 season includes highly anticipated debuts with the Chicago Symphony and Israel Philharmonic orchestras, as well as return visits to the Budapest Festival Orchestra with Ivan Fischer, a Swiss tour with Les Siècles and François-Xavier Roth, Munich Philharmonic with Fabio Luisi, Staatskapelle Dresden with Herbert Blomstedt and the Chamber Orchestra of Europe with Sir Simon Rattle. Highlights of recent seasons have included engagements with London Symphony Orchestra, Concertgebouw Orchestra, Tonhalle Orchestra Zurich, Orchestre de Paris, Oslo Philharmonic, Leipzg Gewandhaus Orchester and in North America with the Los Angeles Philharmonic, Cleveland Orchestra, Pittsburgh Symphony and her debut at Lincoln Center’s Mostly Mozart Festival in New York.

During the summer of 2019, she made a triumphant return to the Lucerne Festival with the Rotterdam Philharmonic under Lahav Shani and continues to appear regulary at the BBC Proms in London. A keen chamber musician, Vilde regularly appears at festivals in Rheingau, Lockenhaus, George Enescu Festival, Salzburg Festival and the Prague Spring Music Festival. She appears regularly in recital at the Carnegie Hall, Concertgebouw, Vienna Musikverein, Philharmonie Berlin, Wigmore Hall, Tonhalle Zurich and the Bozar in Brussels, as well as part of the Vancouver Recital Series, Boston Celebrity Series and San Francisco Performances. The current season will see a cycle of Beethoven trios in Amsterdam, Hamburg, Moscow and in Paris at the Theatre des Champs-Elysees with Lawrence Power and Nicolas Alstaedt.

Vilde Frang is an exclusive Warner Classics artist and her recordings have received numerous awards.  She is the recipient of the Classic BRIT Award, “Diapason d’Or” by Diapason Magazine, Académie Charles Cros’ «Grand Prix du Disque», Deutsche Schallplattenpreis and the Echo Klassik Award.  She also received a Gramophone Award in the Concerto category for her recording of Korngold’s Violin Concerto and Britten’s Violin Concerto.


From The Green Room


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    Paganini, Schubert

    Label: Warner Classics

    Release Date: 15 Nov 19

    Vilde Frang, violin
    Michail Lifits, piano

    “I have heard an angel sing,” wrote Schubert after he heard Paganini play in Vienna in 1828. Vilde Frang, partnered by pianist Michail Lifits, juxtaposes and links works by these two violinist-composers, who lived vastly different lives, yet are musically connected. Both found inspiration in the human voice and Frang sheds new light on Schubert’s demands for virtuosity and on Paganini’s sensitive musicality.

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    Bartók Violin Concerto No.1 & Enescu Octet

    Label: Warner Classics

    Release Date: 07 Sep 18

    Other participants: Erik Schumann, Gabriel Le Magadure, Roseanne Philippens, Lawrence Power, Lily Francis, Nicolas Altstaedt, Jan-Erik Gustavsson, Mikko Franck, Orchestre Philharmonique de Radio France.

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    Label: Warner Classics

    Release Date: 17 Nov 17

    Short pieces for violin and piano by Schumann, Wieniawski, Schubert, Debussy.
    Vilde Frang, violin
    José Gallardo, piano

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    Label: Warner Classics

    Release Date: 28 Feb 16

    Violin Concertos
    Vilde Frang, violin
    Frankfurt Radio Symphony Orchestra/James Gaffigan

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    Label: Warner Classics

    Release Date: 09 Feb 15

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

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    Nielsen & Tchaikovksy

    Label: Warner Classics

    Release Date: 02 Dec 12

    Violin Concertos
    Vilde Frang, Violin
    Danish National Symphony Orchestra/Eivind Gullburg Jensen

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    Violin Sonatas

    Label: Warner Classics

    Release Date: 01 Jan 11

    Bartok, Grieg & Strauss Violin Sonatas
    Vilde Frang, Violin
    Michail Lifits, Piano

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    Prokofiev & Sibelius

    Label: Warner Classics

    Release Date: 01 Jan 09

    Violin Concertos,
    Vilde Frang, Violin
    WDR Symphony Orchestra/Thomas Sondergard

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    05 Oct 20 BEETHOVEN Violin Concerto
    Philharmonie Berlin

    with Sir Simon Rattle & the Chamber Orchestra of Europe.

    “Und unzählige Nuancen in Beethovens Violinkonzert. Selten hört man das einmal so durchleuchtet, auch mit einer Vilde Frang, die – wie das COE auch – in ihrer Gestaltungskraft über sich hinausgewachsen ist.”

    ***** Andreas Göbel, rbbKultur, 6 October 2020

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    15 Mar 20 BRITTEN Violin Concerto
    Barbican, London

    with Antonio Pappano and the London Symphony Orchestra.


    “In an exceptional account of the work, Vilde Frang seemed not so much to play it as to live it, etching every phrase with uncompromising emotional directness, while Pappano’s conducting veered between restless energy and relentless momentum. The whole thing was overwhelming and unforgettable.”

    ***** Tim Ashley, The Guardian, 16 March 2020


    “The violinist Vilde Frang’s purity of tone, whistling harmonics and sobbing lower register sang clearly through the strafing of timpani and cymbals in the concerto. Frang’s playing was vividly emotional, her candour and connection to the orchestra riveting.”

    ***** Anna Picard, The Times, 16 March 2020


    “they are rebuked now by a violinist of supreme intelligence, one who holds the perfect Apollonian poise between passion and precision, alert in her slightly other-worldly way to what the orchestra is doing around her, miraculously attuned to the chamber-music she is sometimes asked to make with her fellow strings. In the dying fall after the many turns of the screw to Britten’s passacaglia variations for the epic third movement, Frang took us on an out-of-body journey, never overdoing the major-minor oscillations which can sometimes seem self-pitying. The partnership with Pappano and the orchestra was breathtaking, sometimes quite literally so.”

    ***** David Nice, Arts Desk, 16 March 2020

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    23 Jul 19 BEETHOVEN Violin Concerto
    David Geffen Hall, Lincoln Center, New York

    with the Mostly Mozart Festival Orchestra and Andrew Manze.

    “Mr. Manze did, along with the probing violinist Vilde Frang, a sensitive and subtle soloist in the concerto. As themes wound through the elusive, complex development section of the first movement, Ms. Frang seemed to be pondering each phrase in the moment. In assertive episodes, though, she played with gleaming sound and boldness. She conveyed the dancing playfulness of the finale, backed at every moment by Mr. Manze, who drew buoyant, clear playing from the orchestra.”

    Anthony Tommasini, The New York Times, 26 July 2019

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    22 Feb 19 STRAVINSKY Violin Concerto
    National Concert Hall Dublin

    with the RTÉ National Symphony Orchestra of Ireland and Cristian Măcelaru.

    “Soloist Frang nailed this [opening] chord with laser-like accuracy at the beginning of each movement … Frang’s vibrato in Aria I possessed an almost Heifetz-like intensity, and the staccato section was attacked with something akin to visceral ferocity. Aria II was lyrical and mournful and was imbued with a great sense of peace. There was a great dynamic in the final movement Capriccio between conductor, soloist and orchestra, as Frang created a scintillating dialogue with the RTÉ National Symphony Orchestra.”

    **** Andrew Larkin, Bachtrack, 24 February 2019

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    04 Feb 19 BARTÓK Violin Concerto No.1; ENESCU Octet Warner Classics Disc

    with the Orchestre philharmonique de Radio France & Mikko Frank Erik Schumann, Gabriel Le Magadure, Rosanne Philippens (violins), Lawrence Power, Lily Francis (violas), Nicolas Altstaedt, Jan-Erik Gustafsson (cellos).

    “How thrilling that Vilde Frang and friends have given us a performance to match the constant and staggering invention of Enescu’s Octet. Despite the talent in the line-up – Lawrence Power, Nicolas Altstaedt, Jan-Erik Gustafsson for starters – this is no all-star performance. It is a demonstration of how eight humans focused on the same ends can sound exquisite as individuals and as one.

    Frang threads the Octet into life with similar focus… We’ve had a cascade of Bartók concertos recently but Frang’s version is welcome, if not superlative, coming from a player who always has something to say. The gradations of her vibrato in the concerto’s opening are telling; her tone is consistently alluring and individual and her phrasing always offers an alternative to standard rhetoric.”

    Andrew Mellor, The Strad, 4 February 2019

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    16 Dec 18 BEETHOVEN Violin Concerto
    Dresden Semperoper

    with the Staatskapelle Dresden and David Afkham.

    “Wenn ein Konzert ganze Interpretenleben verändern kann, sich täglich beim Üben und Spielen völlig anders gibt und man auch als Zuhörer stets wächst und bereichert wird, dann ist es wohl dieses Meisterwerk, dessen wahre Größe sich auch erst auftut, wenn man mit dem Komponisten selbst ins Gespräch gelangt. Und das ist Vilde Frang wohl am Sonntagvormittag bestens gelungen, wenngleich ein respektvolles Gespräch eben immer Rede und Gegenrede, Emotion und Widerspruch zuläßt…
    An der Mucksmäuschenstille des Publikums war zu erahnen, dass man Vilde Frang auf dieser Reise interessiert begleitete. Weniger als Drama oder Weltendonnermusik sah Frang den 1. Satz wohl vor allem als Wanderung nach innen, interessanterweise den 2. Satz vorbereitend, der dann mit offen gestandener Traurigkeit (das muss man diesem Konzert erst einmal entlocken!) und fremdartig winterlichen Hinterglastönen etwa in der im Klang wahrlich „ersterbenden“ Pizzicato-Stelle fast in Richtung einer neuen, neuartigen Musik schwenkte… Vilde Frang befreite sich zwar nun aus dieser verinnerlichten Welt, doch der Finalsatz blieb bei ihr als Nachklang verhalten, und damit erneut überzeugend, weil sie so Beethoven nicht als Dreisatzpotpourri vorstellte, sondern als Einheit von – an diesem Vormittag – außergewöhnlicher Kraft.”

    Mehrlicht, December 2018


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    15 Nov 18 HOMAGE CD Review / BBC Music Magazine

    “Vilde Frang’s players capture Enescu’s mystery and brilliance.
    [In Bartok’s First Violin Concerto] Frang rises to its passionate lyricism and dazzles in partnership with Mikko Franck and the Orchestre Philharmonique de Radio France.”
    Performance *****
    Recording *****

    ***** John Allison, BBC Music Magazine, November 2018

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    09 Sep 18 BEETHOVEN Violin Concerto
    Queen Elizabeth Hall Antwerp

    with the Deutsches Symphonie-Orchester & Robin Ticciati.

    “…Vilde Frang’s violin was like a ray of sun. Although entering as on tiptoes, she immediately captured attention through the quality of her playing. The clarity of her articulation and her range of tone were utterly compelling. Moreover she brought Beethoven back to earth with her essentially non-heroic approach. Attentive to dynamics and tempi, Frang meshed her violin with the orchestra, naturally stepping into the footlights or receding into an accompanying role when required. In effect, the performance had a feel of an improvisation, as if Frang was responding spontaneously to what the orchestra proposed. Below the calm surface lurked a vivacious temperament, which manifested itself in the fast, almost edgy runs, but also created a palpable tension throughout the outer movements. On the other hand, the delicacy of her playing in the Larghetto attained moments of true bliss in the dolce and sempre perdendosi passages and with pianissimo notes that seemed to hold forever.”

    **** Marc Haegeman, Bachtrack, 12 September 2018

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    19 May 18 HOMAGE CD Review / The Strad

    “Captivating tribute to the great violin virtuosos.

    Among violinists of the younger generation who I have heard both in concert and on record, Vilde Frang strikes me as the most original … no one could possibly hear her exquisite performance of the E minor op.46 no.2 Dvořák–Kreisler Slavonic Dance without being captivated by it.

    In five arrangements by Kreisler and three by Heifetz, she makes no attempt to ape either of them, but does her own thing. To this end she is ably supported by pianist José Gallardo, who contributes ideas of his own and does not deserve to have his name consistently printed in smaller type.

    Her Gluck Mélodie is cool as a Nordic stream. On her 1864 Vuillaume instrument she throws off Ries’s La capricciosa delightfully, plays Wieniawski’s ‘Obertass’ Mazurka with élan and irresistible rhythm and his E flat major Caprice with delicate staccato. She hurls herself at Poldowski’s Tango, brings lovely portamento to the Scriabin–Szigeti Etude op.8 no.10 and generally has fun.”

    Tully Potter, The Strad, 19 March 2018

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    17 Feb 18 BEETHOVEN Violin Concerto
    Walt Disney Concert Hall, Los Angeles

    with the LA Philharmonic and Esa-Pekka Salonen.

    “Frang is a serpentine Beethovenian. There is an ethereal aspect to both her appearance and her playing that extends even to the way she holds her instrument — dangling the violin by the scroll as though it were an extension of her fingers. She floated through the concerto, eschewing drama and heroism. Her tone was often delicate but never fragile, as she demonstrated in the Fritz Kreisler first movement and the soulful Larghetto, showing she could apply as much sonic pressure as she liked. But mainly, she liked to remain mysteriously allusive.”

    Mark Swed, LA Times, 18 February 2018

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    09 Feb 18 STRAVINSKY Violin Concerto
    Heinz Hall, Pittsburgh

    with the Pittsburgh Symphony & Osmo Vänskä.

    “Internationally acclaimed violinist Vilde Frang gave a robust Pittsburgh debut, delivering Stravinsky’s music with the intimacy of a chamber music performance featuring members of the PSO. Each of the concerto’s four movements opens with the same violin chord, and Ms. Frang gave each enough individual nuance to welcome an entirely new aesthetic to every movement, playing through the gentler passages and fierier lines with poise and drama.”

    Jeremy Reynolds, Pittsburgh Post-Gazette, 10 March 2018

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    02 Feb 18 ELGAR Violin Concerto
    Benaroya Hall, Seattle

    with the Seattle Symphony & Cristian Macelaru.

    “Frang’s slender sound compelled her audience into hushed silence, lest it miss a single note. Even at the height of flu/cold season, hardly a single cough was heard. Not even solo wind instruments that played far louder than she could detract from playing so emotionally wrought that hundreds of audience members broke into applause at the end of the opening Allegro movement. After Frang paused to compose herself, the ensuing Andante was equally extraordinary for the startling intimacy of its tender, fragile highs. With an approach that made Elgar’s concerto seem the most important concerto ever written, Frang and Măcelaru inspired Seattle’s string section to virtually melt into their music as they played with rare liquidity. That Frang managed to maintain her delicate sound and tonal beauty as she launched into the virtuosic frenzy of Elgar’s athletic final Allegro seemed nigh miraculous. Eschewing the big-boned, echt Russian approach of some fabled soloists, she nonetheless allowed passion to be her guide as she tugged this way and that, and delivered unaccompanied passages according to the dictates of the heart. Sometimes notes seemed suspended in the air undisturbed, as if time stood still, until the next note spoke with equal truth. Măcelaru hung on Frang’s every phrase, allowing her gorgeous high slivers of sound to sing unencumbered.”

    Jason Victor Serinus, Classical Voice North America, 3 February 2018

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    20 Dec 17 BARTOK Violin Concerto No.1
    Philharmonie Berlin

    with the Berlin Philharmonic & Ivan Fischer.

    “Die ungestüme Vilde Frang … zeigte in der Berliner Philharmonie ihre ganze leidenschaftliche Ausdruckskraft bei der Interpretation dieses einzigartigen Meisterwerks der Violinliteratur …
    Vilde Frang und die Berliner Philharmoniker entwickelten den ersten Satz Andante sostenuto aus dem durch die Solovioline vorgetragenen Leitmotiv eines aufsteigenden Vierklangs und der folgenden dissonanzenreichen Melodielinie höchst sensibel als organisches und feinsinniges Geflecht träumerischer, melancholischer und schwelgerischer Gefühlswelten … Im darauffolgenden Allegro giocoso konnte Frang dann ihre leidenschaftliche Spielfreude voll ausleben und fand stets die richtige Balance aus virtuoser Brillanz und perkussiver Prägnanz. Wie sie die leere E-Saite zum Klirren brachte, den Bogen am Frosch mit Mut zum Risiko hart aufsetzte und so ihrem obertonreichen Spiel an passenden Stellen auch harte und spröde Geräusche beimischte, das ist Bartok-Interpretation in Vollendung.”

    **** Benedict Zacher, Bachtrack, 21 December 2017

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    19 Nov 17 ELGAR Violin Concerto
    Konzerthaus Dortmund

    with the City of Birmingham Symphony Orchestra and Mirga Gražinytė-Tyla.

    “Ein Traumpaar waren Gražinyte-Tyla und Vilde Frang in Elgars Violinkonzert. Und für das Orchester war die Musik des Briten Muttermilch. Eine milde Süße, die nie kitschig klang, gab die Geigerin dem langsamen Satz, der innig, wie ein Gebet, klang. Wie elegant und mit welchem Luxusklang die Norwegerin in den schnellen Sätzen Linien formte, war sensationell.”

    Julia Gass,, 20 November 2017

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    16 Nov 17 ELGAR Violin Concerto
    Symphony Hall Birmingham

    with the City of Birmingham Symphony Orchestra and Mirga Gražinytė-Tyla.

    “Her agility (to say nothing of her capacity to hurl dazzling beams of sound) is beyond question. But the heart of Frang’s sound is actually broad-grained, dusky, and intensely articulate, and with her very first entrance she drew the music in around herself, tremulous with melancholy. Eyes downcast, and bending before Gražinytė-Tyla’s increasingly tempestuous orchestra, Frang made the concerto a romantic drama: a poet against the storm. The tops of her phrases had a way of vanishing into the general string sound, which made the Andante feel more than ever like a duet between violin and orchestra – with the melting sweetness of Frang’s high notes matched by some radiant ensemble woodwind playing.”
    Richard Bratby, The Arts Desk, 17 November 2017

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    03 Aug 17 BBC PROM 26 MOZART Sinfonia Concertante
    Royal Albert Hall

    with Paavo Järvi, Lawrence Power, and the Deutsche Kammerphilharmonie Bremen.


    “The peerless andante, with Frang’s vibrato never excessive, ached and yearned with an elegiac sweetness that avoided any mawkishness, while Järvi gave them time and space to shine. In the rondo, Power and Frang’s intimate chit-chat became brilliant, torrential badinage, and their final giddying ascent into string heaven sang with an ecstatic bliss.”
    **** Boyd Tonkin,, 4 August 2017


    “One of Mozart’s greatest early masterpieces, the Sinfonia concertante for violin, viola and orchestra, positively glowed in the hands of [the Deutsche Kammerphilharmonie Bremen]. They were joined by a pair of highly responsive soloists, Vilde Frang and Lawrence Power, who respectively relished the music’s sweet-toned delicacy and warmth. The sublime slow movement registered fully here, proving that intimate music-making is possible in the Albert Hall.”
    **** John Allison, The Telegraph, 7 August 2017


    ” … there were two major characters in this Sinfonia concertante: the violinist and viola player. The former turned her instrument into a diffident lady of the times – strolling and equipped with a parasol. Vilde Frang’s timbre on the violin was sombre and painfully shy – and could equally veer into capricious, argumentative territory. What was especially salient was her divergence of vibrato across just one long drawn-out trill; opening and closing in width in restrained, delicate measures and simultaneously offering an elegant diminuendo. While Lawrence Power’s viola would creep into the fold with ominous dynamics, Frang’s violin held a hypnotic potency that shifted one’s mind off the orchestra. Her stylistics embody a variegation of dynamics and tempi that is both almost unheard of and unheard in today’s times.”
    Sophia Lambton, Bachtrack, 4 August 2017

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    13 Jul 17 Gstaad Menuhin Festival Duo Recital with Aleksandar Madzar
    Saanen Church, Saanen

    “[Vilde Frang] wirkt höchst präsent, neugierig, elfenhaft geheimnisvoll, mit einem leichten Zug ins Schelmische. Und so spielt sie auch, die 30-jährige Norwegerin Vilde Frang: technisch brillant, dem aufgeraut-unverfälschten Ton hingegeben, auf nichts fixiert. Die garderobisch so herrlich Unaufgebretzelte ist von Beginn an bereit, den inneren Reichtum von Johannes Brahms’ Violinsonate G-Dur Nr. 1 op. 78 aufzuspüren.”
    Svend Peternell, Berner Zeitung, 14 July 2017


    ” … diese «fée verte» verfügt über unglaubliche Kraftreserven und ein Können, das sich immer noch weiterentwickelt. Es ist Vilde Frang … Inspiration und Ausdruck aber kommen von [Vilde Frang].

    Wie sie das macht? Sie legt die Geige an die Schulter und schliesst die Augen. Es sieht aus, als wollte sie sich von jeder Äusserlichkeit verabschieden. Auch vom Publikum. Doch die Geigerin weiss, es wird ihr folgen. Sie nimmt es mit auf dem Weg ins Innere, in die DNA der Musik.”
    Marianne Mühlemann, Der Bund, 15 July 2017

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    29 Apr 17 BACH Violin Concerto No.1 & No.2
    Kings Place, London

    with the English CHamber Orchestra.

    “Frang has notable stage presence … even when she was simply first among equals in the ensemble passages, the timbre she obtains from her 19th-century instrument was unmissable. Here was all the extra accenting and variation in timing detail needed to give a lift to a bright passage or languid breathing space to a slow one … The slow movement of the A minor concerto showed the interplay between soloist and orchestra at its best, with a lovely call-and-response feel … Frang’s violin was not Baroque, but her tone was beautifully clean, with finely calibrated use of vibrato to add a touch of extra character to a note without ever lapsing into an overblown romantic mush. Her timing on the fast decorative figures was precise, her control of evenness on long held pianissimo notes was exceptional. The second movement of the E major concerto was ravishing: the ECO produced lovely dark colours and the brightness of Frang’s violin line cut through them like a sunbeam.”

    David Karlin, Bachtrack, 30 April 2017

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    31 Mar 17 BRITTEN Violin Concerto
    Centro Cultural Miguel Delibes, Valladolid

    with the Orquesta Sinfónica de Castilla y León and Jesús López Cobos.

    “La conjunción entre la violín solista Vilde Frang, la orquesta y el director propició todo lo que de positivo tuvo la versión del Concierto para violín de Britten. Una obra en la que resultó muy positiva la imbricación de la solista en relación a la orquesta, de tal forma que ésta tan pronto se subsumía en ella, sin perder su individualidad, como acentuaba el carácter y la personalidad del violín. Vilde Frang demostró su capacidad para abordar la obra con un sonido a veces ágil, a veces denso, otras llamativamente agitado, acentuando los sonidos casi sobre el puente, tan aflautados, entregándose a raudas escalas, efectistas spiccati y dobles cuerdas, dando con ese punto en el que no existe fractura entre la técnica y la expresividad. Y así Frang consiguió que recursos de tan alta factura fueran un medio, nunca un fin en sí mismos, para interpretar una obra melancólica, evocadora, tensa, con un lenguaje singular y una melodía subyugante, que concluye en ese pianísimo sostenido, lo que engrandece aún más a una partitura vinculada al contexto histórico que se vivía en torno al año 1939.”
    Agustín Achúcarro,, 3 April 2017

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    23 Feb 17 BRITTEN Violin Concerto
    Morton H. Meyerson Symphony Center

    with the Dallas Symphony Orchestra and Jakub Hrusa.

    “Her technical mastery made short work of Britten’s notorious challenges with magnificent intonation and expressive phrasing. Her dynamic range went from very loud to almost inaudible and she adapted her memorable sound to each musical occasion.”
    Gregory Sullivan Isaacs, TheaterJones, 24 February 2017


    “The Britten Violin Concerto, played with absolute authority and jaw-dropping finesse by the Norwegian violinist Vilde Frang … Frang spun out tones of silken beauty, but she didn’t shrink from gruff bowings and pluckings when called for. She impeccably dispatched virtuoso scampers up and down the fingerboard, simultaneous bowings and pluckings, even double-stopped harmonics in the stratosphere.”
    Scott Cantrell, Dallas News, 23 February 2017

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    05 Feb 17 STRAVINSKY Violin Concerto
    Philharmonie Cologne

    with the Gürzenich-Orchester Köln and François-Xavier Roth.

    “Wenn die Geigerin Vilde Frang das Podium betritt  erwartet man bei aller Energieausstrahlung der jungen Künstlerin nicht unbedingt eine dramatisch explosive Interpretation. Superschlank und zart in der Erscheinung, dazu wirkungsvoll umweht von den Stoffen ihrer luftigen Robe schwebt sie eher wie eine Elfe herein. Bei den ersten Tönen von Igor Strawinskys Konzert in D wurde jedoch klar: Hier agiert eine Interpretin von vitaler Entschlossenheit, nicht willens Musik zu verzärteln, sondern die Essenz eines Werkes zum Leben zu erwecken. Von „fiebriger Neugier“ war über diese zupackende Art in einem Zeitungsporträt mal die Rede. Die Geigerin selber sagt: „Die Musik stellt permanent Fragen, auf die man als Interpret Antworten finden muss … Vilde Frang spielte mit großer Entschlossenheit, ließ die dunkle Lyrik von Aria II ebenso zu ihrem Recht kommen wie sie die Pizzicati im Finalsatz (Capriccio) perkussiv in den Raum schleuderte.”
    Christoph Zimmerman,, 5 February 2017

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    16 Jan 17 BRAHMS, SCHUBERT, ALBENIZ & BARTOK Duo Recital
    August Everding Saal

    with Aleksandar Madzar.

    “Das Schöne an der Norwegerin ist, dass sie aufregend und fesselnd agiert, ohne großen Gestus oder Effektsuche. Bartóks Werk ist ja nicht eben leicht zugänglich mit seiner quälenden Suggestivität, seinen Dissonanzen, zerklüfteten Klavier-Kaskaden und einem Zusammenwirken der beiden Instrumente, das mitunter Züge eines Gegeneinanders annimmt. Gerade auch im Finalsatz mit seiner stürmischen Charakteristik und seiner folkloristisch angehauchten, rauen Rhythmik entbreiteten die beiden Duo-Partner ein starkes und doch nicht auftrumpfendes Temperament. Hier stimmte auch das Lautstärken-Verhältnis der beiden Instrumente, was man vom ersten Teil des Konzerts nicht immer behaupten konnte.”
    Udo Watter, Süddeutsche Zeitung, 17 January 2017

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    17 Oct 16 KORNGOLD Concert

    with the City of Birmingham Symphony Orchestra & Nicholas Collon.

    “Frang’s tone was warm and golden in the lower registers; moving up, it was less bold, more fragile, as if painting in aquarelle … She impressed with light, fluttery virtuosity in the final movement, yet a focussed determination seemed to inhibit her enjoyment of complete artistic abandon that could be seen in the orchestra, raising goosebumps with a final great tutti sweep.”
    **** Hedy Mühleck, Bachtrack, 20 October 2016

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    01 May 16 Mendelssohn Europakonzert

    with the Berlin Philharmoniker & Sir Simon Rattle.

    “Das melancholische MendelssohnViolinkonzert in e-moll gelingt Vilde Frang in der Kirche von Røros zauberhaft. Auffällig ist der silbrige Ton der jungen Frau, der aber auch dramatisch aufrauschen kann und sie zur Interpretation des romantischen Repertoires prädestiniert.”
    Matthias Nöther, Berliner Morgenpost, 02 May 2016

    “Als Solistin ist die junge Norwegerin Vilde Frang zu erleben, die nicht nur eine großartige Virtuosin ist, sondern auch eine einfühlsame Interpretin, die jeder Note Bedeutung und Leben verleihen kann.”
    Berliner Kurier, 01 May 2016

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    05 Feb 16 Mozart Violin Concerto No.1 & No.5
    St John's Smith Square

    “Vilde Frang played both concertos from memory, and in both she combined a sweetly singing, refined, flexible tone with a vital sense of drama. Mozart was interested in the way the violin could sing like the voice, and Frang brought out every inch of the operatic qualities of these works. She is an engaging and vivid performer, whilst never pushing the music out of the envelope. Her Mozart was elegant, poised yet full of drama.”
    Robert Hugill, Planet Hugill, 07 February 2016

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    30 Oct 15 Mozart Violin Concerto No. 5

    with the Orchestre National de Belgique & Xian Zhang.

    “Vilde Frang peut alors livrer un concerto de toute beauté. Son archet frais, volubile, presque enfantin, rend idéalement la musique de Mozart.”
    Quentin Mourier, Crescendo Magazine Belgium

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    23 Oct 15 Korngold Violin Concert

    with the Montreal Symphony Orchestra & Emmanuel Krivine.

    “She has remarkable presence and an ease like that of the best singers, but her performance of Korngold’s Violin Concerto was not as lyrical as it was witty.”
    Lev Bratishenko, Special to Montreal Gazette, 1 October 2015

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    23 Oct 15 Britten Violin Concerto

    with the Seattle Symphony Orchestra & Jakub Hrusa.

    “The scene-stealer at Seattle Symphony Orchestra on Saturday night… was the young Norwegian violinist Vilde Frang and her dazzling, impassioned reading of the thorny Britten Violin Concerto No. 1.”
    Melinda Bargreen, Special to the Seattle Times, 11 October 2015

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    20 Jul 15 Mozart Violin Concerto No.5
    Teatro alla Scala

    with the Orchestra Filarmonica della Scala & Marc Minkowski.

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

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    05 Mar 15 Korngold Violin Concerto

    with the Leipzig Gewandhausorchester & Andres Orozco-Estrada.

    “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

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    05 Feb 15 Bruch Violin Concerto

    with the NSO Washington & Juraj Valcuha.

    “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

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    02 May 14 Britten Violin Concerto

    with the Royal Scottish National Orchestra & Thomas Sondergaard.

    “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

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    03 Mar 14 Prokofiev Violin Concerto No.2: US Tour

    with the 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

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    14 Jan 15 Bartok Violin Concerto No.1

    with the Vienna Symphony Orchestra & Jonathan Nott.

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