LOS ANGELES TIMES

Los Angeles Philharmonic - Mozart Concerto No. 5

The glowing exception was the concert's centerpiece, a stylish, riveting performance of Mozart's Violin Concerto No. 5 ("Turkish"). Buoyed by violin soloist Augustin Hadelich, Urbanski and the philharmonic proved alert and sensitive collaborators.
 
Hadelich, 32, born in Italy to German parents, is an intimate performer whose self-effacing quality allows the music to soar. He has what Mozart once told a friend was more important than virtuosity: taste and feeling.
From his delicately calibrated entrance to the Hungarian-sounding Rondo finale (the concerto's title is actually a misnomer), Hadelich's lean, burnished tone was supremely graceful and communicative. Mozart wrote no cadenzas for this concerto, so Hadelich wrote his own, picking up on themes and weaving them seamlessly into the concerto's softly contoured design. Hadelich's encore, Paganini's Caprice No. 21 for Solo Violin, displayed plenty of virtuosity, as well as taste and feeling.
LOS ANGELES TIMES, November 27 2016, RICK SCHULTZ
 

Los Angeles Philharmonic subscription debut- Beethoven concerto

[...] So another violinist, the young, superbly equipped Augustin Hadelich, and a familiar figure from the San Francisco Symphony’s past, conductor Edo de Waart, were rushed into the breach for what became Hadelich’s Walt Disney Concert Hall debut.
Hadelich surely is used to this by now, for these were the same last-minute conditions in which he made his impressive 2008 Hollywood Bowl debut when both the conductor and violinist canceled. And the conductor who canceled then was ... Edo de Waart.

[…] Hadelich, as he did with the LACO, made the Beethoven concerto sing. His shaping of the opening passage startled with its silvery tone, pinpoint intonation and surprising turns of phrase — and there was not a note thereafter that was not thought out, characterized and beautifully projected. The slow movement was phrased like a deep internal dialogue, the Rondo was vigorous and playful, and De Waart brought out seldom-spotlighted undercurrents in the orchestral parts.
There is a succinct word for a performance like this, "masterly," and Hadelich topped it off with an equally eloquent signature encore of his, Paganini’s Caprice No. 9.
LOS ANGELES TIMES, Richard S. Ginell - January 12 2014


Los Angeles Philharmonic debut - Prokofiev Concerto no. 2
Now, the good news. Hadelich (...) is a real find. Inheriting the Prokofiev Violin Concerto No. 2 from Rachlin, he displayed complete command of the material. He had a sure grasp of the arching lines of the first movement and the freedom to indulge in impulsive gusts of energy without losing contact with the line. He drew a beautiful, pure, dark-shaded tone from his 1683 vintage Stradivarius, illuminating the songful stretches and shadowy flutterings of the second movement. He allowed a touch of roughness to creep into his tone in the finale, yet his rhythm was firm -- firmer than that of the orchestral accompaniment -- and he didn't neglect the movement's playfulness.
This is not a sure-fire concerto to wow a Bowl audience with, and Hadelich is not one of those showboating types who flaunt exaggerated intensity on the Bowl's huge video screens, but wow the crowd he did. And with a silken tone and dead-on multiple stops, he added an impressive solo encore, Paganini's Caprice No. 21.
LOS ANGELES TIMES