• We were then treated to Ralph Vaughan Williams’s The Lark Ascending and privileged to hear Jennifer Pike handle the violin solo…a rounded, secure rendition that let the glorious music speak for itself, the sign of real artistry.

    Charles Stokes Edinburgh 49,

    Britten-Shostakovich Festival Orchestra, Jan Latham-Koenig, Usher Hall Edinburgh
    23 September 2019

  • It was Vaughan Williams’s The Lark Ascending with Jennifer Pike as the eloquent soloist that left the most favourable impression – orchestra and violinist perfectly balanced in a magical rendering that combined impeccable technique with poetic sensitivity.

    David Truslove, Classical Source,

    Britten-Shostakovich Festival Orchestra, Jan Latham-Koenig
    24 September 2019

  • Soloist Jennifer Pike was magical in the Vaughan Williams, creating a sense of wonder, her playing as light as air, her trills beautifully controlled – and as she soared upwards into the infinite at the end her tone was so pure and ethereal that you could sense the audience holding their breath.

    William Ruff reviewsgate.com,

    Britten-Shostakovich Festival Orchestra, Jan Latham-Koenig, Nottingham Royal Concert Hall
    18 September 2019

  • Pike…played with fine lyricism and poise in the Adagio espressivo, while she and Esfahani enjoyed the witty and jovial outer Allegro leggiero and Allegro vivo movements.

    Cascades by British composer Jeremy Pike, which draws inspiration from a walk along a stream, was written for Pike – his daughter – and Esfahani. The pair set the scene vividly, their playing bouncing off the other’s to great effect, Pike bathing in warm melodies and impressing with clean harmonics and seemingly at one with Esfahani’s harpsichord.

    The dreamy Siciliano opening of Bach’s C minor sonata made for a lovely encore

    Christopher Halls, South China Morning Post

    Baroque meets Contemporary, Concert Hall, Hong Kong City Hall
    21 May 2019

  • The orchestra was joined by golden toned violinist Jennifer Pike in two Kreisler pieces, by turns dazzling and melting, producing an audibly contented sigh from the audience at the end of ‘Liebesleid’. She returned later with two attractive and entertaining pieces by Wieniawski. These gave the soloist ample opportunity to display her impressive technique including double-stops and chromatic glissandos, while delivering the melodies with passion and glamorously sculpted lines.

    John Gough, Midland Music Reviews

    Kreisler and Wieniawski, City of Birmingham Symphony Orchestra, , Concert Hall, Hong Kong City Hall
    22 September 2018