“[...] the impression was excellent. From the very first chords, full of energy, a sound of great volume and generous presence took possession of the hall, as did the Moldovan artist’s flair and personality. A phrasing as varied as it was incisive and a feline expressiveness, always vibrant, were combined with a high level of technical accomplishment, as demonstrated by the dazzling cadenza at the centre of the first movement.”
“Conunova immersed herself in the atmosphere of mystery that opens the second movement and unfolded an enveloping, dreamlike lyricism, with a velvety, intense and fluid sound, from a violinist who was always expressive, individual, committed and as eloquent as she was passionate.”
“The intensity became almost untamed in the overwhelming and impetuous whirlwind of the third movement, in which the Moldovan violinist tackled the vertiginous passages imbued with the rhythmic fury of Armenian folk dances with ferocity and the indispensable technique and mastery of the bow.”
“The soloist earned a well-deserved triumph in every respect. It was a complete display of virtuosity, but also of lyricism and phrasing in the most beautiful, interesting and inspired aspects of the work, which are found in its melancholic central movement.”
“Armed with a beautiful instrument by Guadagnini (from 1785, formerly ‘Ida Levin’), the Moldovan violinist tackled the devilishly difficult Armenian score (with the music) and made her many qualities immediately evident: powerful, rounded sound of great beauty, highly agile bow, precise intonation and clear articulation, with a slightly electric vibrato at times and a broad range.”
“This music by Khatchaturian, with its great rhythmic excitement, needs someone who can draw the maximum out of this aspect (perhaps its main strength), because dance is constantly present in the background. The Moldovan did so, without the slightest doubt, displaying enviable drive and determination, including the spectacular rendering of the first movement’s cadenza, at whose beginning the clarinet soloist also shone.”
“Conunova showed a fine singing quality in the second movement, from which she also extracted the maximum. She did the same in the brilliant final movement, a kind of catchy rondo that is an apotheosis of violinistic filigree.”
“Conunova’s success was as unquestionable as it was deserved”