Christine Lamprea, Cello

Kate L. Photography

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“[A] firebrand…She spit out feral pizzicati…and hurled the discrete phrases like so many Molotov cocktails. She held nothing back, but she possessed the underlying discipline to make all the risks pay off. She projected a huge, taffeta-textured sound…She seemed to relish the materiality of sound production—the tender/tough touch of bow hair on strings, the physical act of making music.” —Mike Greenberg, Incident

“[Lamprea] projected a focused intensity even as she listened to her accompanist play the opening phrases. Then came the immediately lashing vigor of her attack, head bobbing, and long ponytail fluttering behind as she coaxed the rich tones from her instrument with ivory arms. Tenderness one moment gave way to feverish excitement as Lamprea guided her audience through the thrilling escalations of the piece. I overheard a woman behind me to say, ‘I didn’t know a cello could do all that!’ “

—David Bow Bentley III, The People’s

“[Lamprea] adopted her own unique take on the [Barber Concerto], with a sureness and aplomb that were totally persuasive. The cello’s entrance in the first movement is one of those over-the-top, upper-register, wound-up outbursts that puts us in mind of Judith Weir’s wry observation that Romantic composers can treat the cello as a hysterical treble instrument with a surprise bass extension. Without stinting on these moments, Lamprea alloyed them with a delightful bounciness in the outer movements and lyrical restraint in the slow movement between…The concerto presents major technical hurdles, which she overcame with supreme panache and charmingly effortless phrasing.” —Vance R. Koven, The Boston Musical Intelligencer“