“The Moldovan violinist Alexandra Conunova is forging a career that, at this point, appears unstoppable; her frequent performances with major international orchestras under conductors such as Noseda, Currentzis and Saraste testify to the quality of an interpretive style built on immaculate technique and the immense variety of sounds she draws from the Guadagnini (c. 1785, ex “Ida Levin”) she plays. Conunova displayed her magnetism in an emotionally compelling performance of Bruch’s Violin Concerto, in which she made striking use of the dynamics, taking full advantage of the prominence afforded to her by Macelaru’s baton”
“Well supported overall by the OBC, the soloist displayed a rhapsodic quality in the Allegro moderato, delved into the poetic character of the sublime E-flat motif in the Adagio, and infused the impulsive rhythms of the Allegro energico with a Gypsy-like colour.”
"In clear communication with the orchestra, the Moldovan violinist performed as an integrated part of the ensemble without ever escaping the experienced conductor’s watchful eye during the Allegro moderato. She stood out for her mastery of double-stopping and delivered a spectacular cadenza that was very natural and entirely unforced, as if the violin were an extension of her body and rubato an organic consequence of her musicality."
"Conunova brought out her finest lyricism here during the second theme, creating a beautiful duet with the principal horn, while Macelaru drew all the pyrotechnics from an OBC deeply connected with the conductor. She gave as an encore one of the Two Concert Studies by Ştefan Neaga, a Moldovan composer from the early twentieth century, taking her leave with elegance and beautifully gentle bow strokes."