Acclaim
“Beilman’s sleek, elegant Sibelius concerto began as if floating in from another world – mysterious, ethereal, magical –and never descended into clichéd gestures or exaggerated displays of power. It was a performance brimming with imaginative touches and exquisite control of the softer end of the dynamic spectrum. The slow movement was pure poetry.” – The Strad
“Every phrase that came from violinist Benjamin Beilman in [Beethoven’s] Romance No. 2 was purposefully molded…Repeated descents into the lower strings not only revealed a distinctive, full-bodied sound but also carried emotional weight…” – The Philadelphia Inquirer
“Violinist Benjamin Beilman…came into his own with a superb performance of Prokofiev’s Sonata for Solo Violin, Op. 115…Beilman’s performance brimmed with warmth and breadth…The result was a minor triumph. He was then rejoined by pianist Anna Polonsky in the Wilhelm transcription of Wagner’s seldom-played 1861 ‘Albumblatt.’…it was superbly played by the duo and served as an excellent bridge between the Prokofiev and the recital’s closing virtuoso showpiece, the ‘Carmen Fantasie Brilliante’…an episodic work that allowed each Bizet theme to have its unadorned moment in the spotlight, then garnished them with rapid spiccato passages, fiendishly difficult string crossings, upper register pyrotechnics, slippery glissando and other technical challenges, all dispatched by Beilman with both ease and finesse. The large audience exploded with applause, shouts and cheers…The finale [of the Prokofiev sonata]’s slow, pensive, pianissimo ending was also chillingly effective…” – Buffalo News
“[Beilman plays with] technical luster and expressive variety…His unfailing zestfulness avoided superficiality…His playing was vivid and extroverted, with a rhythmic acuity that gave extra bounce to [his] lively phrasing…Beilman left no doubt that for all the polish and self-possession of his playing, he can tear off a chunk of virtuosity and hold it proudly aloft.” – The Indianapolis Star
“Mr. Beilman’s handsome technique, burnished sound and quiet confidence in Mozart’s Sonata in E-flat (K. 302) showed why he has come so far so fast…Mr. Beilman’s sweeping bravura…Unaccompanied, and playing from memory with vigor and unfussy precision, Mr. Beilman brought out rusticity and nostalgia in Prokofiev’s imaginative late Sonata for Solo Violin.” – The New York Times
“…the excellent young violinist Benjamin Beilman…” – The New York Times
On Beilman’s First-Prize-winning performance at the 2010 Montréal International Musical Competition:
“…20-year old Benjamin Beilman, made a striking impression with the Sibelius Concerto… Beilman’s sound was characterful, his preparation impeccable and he played with both eloquence and flair. By the end of the evening, he seemed poised to win either first or second prize…Many listeners had been touched by Beilman’s playing…” – MusicalAmerica.com
Translation from French: “…there is the promise of a great future for Benjamin ‘beloved-of-the- gods’ Beilman.”- – Le Devoir (Montréal)
Translation from French: “Artist and violin came together in the amazing 20-year-old American, Benjamin Beilman, a sort of spiritual son of Gil Shaham (who share the same pianissimo!)” – Le Devoir (Montréal)
Translation from French: “Beilman crossed the long and difficult score [of the Sibelius concerto] with precision…which, from a boy of 20 years, surprised us all.” – La Presse (Montréal)
Translation from French: “Choosing Beilman as the First Prize winner [of the 2010 Montréal Musical Competition] seemed fair. At age 20, there is no doubt that the jury took into account his young age as he offered such a technically solid, and above all, deeply felt interpretation of the great and demanding Sibelius Concerto. It was an exceptional accomplishment.” – La Presse (Montréal)
Translation from French: “…[then] came the eagerly awaited arrival of the angel of the [2010 Montréal International Musical] Competition, American Benjamin Beilman. From his first statement in the quarter-finals, Beilman displayed the spark that distinguishes great artists. This flare carried through the semifinals and did not wane in the Sibelius Concerto in the finals. The feeling that one was in front of a hybrid of Gil Shaham and James Ehnes continued, as we listened to such passion and such assurance…The jury here has a historic opportunity to position Montréal as the place that introduced to the world the talent of a future superstar of the violin.” – Le Devoir (Montréal)
On the 2010 International Violin Competition of Indianapolis:
“Benjamin Beilman…made the strongest impression…Haydn’s Violin Concerto No. 1 in C Major showed Beilman’s fitness in a very early manifestation of classical-period writing…The second movement was the high point, as his soaring line was steadily poised…Beilman showed a special feeling for this composer…He did so especially in the first-movement cadenza – a little bit rustic, leavened by an urbane wit typical of Haydn…his sense of style was thoroughly winning.” – Indystar.com
“…Benjamin Beilman offered a stunning Prokofiev Sonata No. 1 in F minor…” – Indystar.com
“American Benjamin Beilman, 20, seemed to bring a youthful sense of discovery to every note of Sibelius’ Concerto in D minor for Violin and Orchestra. There was both joy and awe in his playing…”– Indiana Business Journal
“I enjoyed Beilman’s Sibelius Concerto immensely; it sweeped certain tired traditions clean. His phrases were shaped with distinct dynamic and tone-color contrasts, and there was an unusual longing and mystery to his interpretation, bringing simplicity and an honesty of spirit to the score I had never heard before.” – Anthony Aibel, New York Concert Review