CD: Brahms Violin Concerto and String Quintet
Weithaas plays with vigour and power, als well as a willingness to stop and smell the flowers along the way. Her playing is lush and sweet-toned.
The Strad, March 2016
CD: Max Bruch, Complete works for violin and orchestra Vol.2
When a musician can persuade you to revisit repertoire you thought you had tired of, you take notice. Max Bruch’s Violin Concerto No 1, famous to the extent of ubiquity, fell into that category long ago for me, but here is a player who reminds you, with quiet and compelling eloquence, why it’s a masterpiece. The poetic but strong playing of the German violinist Antje Weithaas has nuance and detail without ever sounding mannered, individuality without indulgence. Her tone is silvery, not with any suggestion of weakness but of gleam and flexibility.
The Observer, Fiona Maddocks, 08/09/2015
Her sophisticated use of dynamic facets and her ability to create a great arc of suspense with her unbelievably subtle nuancing are already noticeable at the beginning of the Violin Concerto No. 1. Still, Bruch can sound different: wild at times, and incredibly rich in colour.
And here as well, Weithaas once again shows how varied the spectrum of her nuances is, and how intelligently she applies these nuances – a very convincing second CD of the complete Bruch recordings, which arouses one’s curiosity for number three.
NDR Klassik, 06/07/2015
CD: Bach/Ysaÿe Vol. 1
…This complete recording shall comprise three CDs when it is finished. Already in the first chapter, Antje Weithaas distinguishes herself as a masterful, fine-toned interpreter who shapes the music in large contexts. The Chaconne at the end stands like a rock made from music, which one can believe is made to last for eternity.
Fono Forum, Norbert Hornig, March 2015
…it is particularly exciting and refreshing to hear Weithaas in true isolation with her beautiful and varied tone (on her modern Greiner violin, which she plays with extraordinary skill of compensation, especially when maintaining the heavy poise of the Chaconne) and absolutely meticulous technique. (…) Most of all, you can hear her complex thinking clearly evidenced in the light but ever-present dance lilt in all Bach’s movements, despite their musical and intellectual gravitas. Gramophone, Caroline Gill, March 2015
…in recent years, Antje Weithaas has increasingly and deservedly been ranked as one of the greatest living violinists. With a formidable technique and an unparalleled musical authority and insight, she captures the essence of the G minor-Sonata and the D minor-Partita. (…) Without a doubt, this is the new reference recording of both cycles.
Berliner Zeitung, Peter Uehling, 13/12/2014
Alban Berg, Violin concerto with the Konzerthaus Orchestra in Berlin
Antje Weithaas plays Berg‘s famous funeral music for the Alma Mahler daughter expressively with a large sound that is effortlessly produced, but never forcedly triumphing over the orchestra.
Berliner Morgenpost, Matthias Nöther, 19/01/2015
One follows her [Antje Weithaas‘] lively and expressive phrasing like a story where the suspense is never broken; from the first oscillation of the empty strings right up to when the solo voice fades away into nothing. The interaction with the orchestra captivates with its exact picking up and passing on of nuances, but also with its tracing of the great dramatic arcs.
Berliner Zeitung, Martin Wilkening, 19/01/2015
CD: Beethoven/Berg Violin concertos
Every phrase is well thought out, every harmony resonates with vitality; her playing is full of dramatic tension and her tones have an almost divinely clear quality to them.
KulturSpiegel, Johannes Saltzwedel, January 2014
Antje Weithaas with the Philharmonisches Staatsorchester Mainz
Highly virtuosic and animated, technically flawless and with breathtaking intensity at times – these were the hallmarks of this quite exemplary performance.
Frankfurter Allgemeine Zeitung, Rhein Main, 16/09/2013