“The violinist Patricia Kopatchinskaja … is one of the most profoundly original musicians to have achieved wide recognition in recent memory,” writes David Weininger in Thursday’s (1/9) Boston Globe. “Rarely has a performer of such talent and expressive power been so openly impatient with the numbing effects of tradition, and especially with what she calls ‘institutional inertia.’ … She’s worked with an array of composers—witness her fiercely intense performance of Michael Hersch’s terrifying Violin Concerto. Neglected repertoire? The Soviet-era composer Galina Ustvolskaya, [whose work] she performed to overwhelming effect at the Ojai Music Festival in 2018. And she’s donned makeup and costume to perform in the speaking role in Schoenberg’s ‘Pierrot Lunaire’ in Berlin…. Kopatchinskaja is creating her own artistic universe.… She makes her Boston recital debut on Jan. 23 and 24, in a duo program with cellist Jay Campbell (of the JACK Quartet) that stretches from the 11th century to Ligeti and Xenakis.” In an interview, Kopatchinskaja speaks about her understanding of “relevant, striking, timeless art,” changing concert routine, approaching music through intuition and intellect, her recent recording entitled Time and Eternity, and how she goes about approaching live performance.
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