“Violinist Solomia Soroka had two talented pianists who took turns playing and turning pages:Myroslava Kysylevych and Oksana Lassowsky, whose partnership in the “Zigeunerweisen” helped to produce one of the finest performances I ever heard of that much-played work.[…] Soroka is superbly equipped violinist, at ease with technical challenges of Sarasate or of Jeno Hubay Czardas No.2, but even more expressive in the gentler moments of Yevhen Stankovych’s Cradle Song and Mykola Lysenko’s pleasantly conventional Fantasy on Ukrainian Themes. Her tone is warm and mellow on the low strings, brilliant on the high strings, perfectly controlled and expressively used.”
“There are times in life when you know you are in the presence of genius. That was the feeling at the Church of Nazarene during the recent Venice Symphony concert. The violinist Solomia Soroka played “Concerto #5 in A Minor” by Henry Vieuxtemps with the orchestra. The audience seemed yhypnotized by the musician who performed the difficult piece of music with intensity and beauty. I was so in awe, I had to remind myself to breath.[…] I felt the audience couldn’t wait to give Soroka a long standing ovation for her interpretation.”
(Jewett, New York)
“Inseparable from her instrument, Soroka seems to emerge from the conceptual center of a composition, like Aphrodite from the sea, incarnate as its animating muse. Her technical mastery at the free-play point beyond conscious confinement and encompassing myriad timbres, was deployed in sybil’s search, her phrases breathing, divining visions beyond literally noted phrases, in Brahms’ “Sonata No.1”, so the familiar work evolved new and profoundly true. […] Seated in her presence, you know this lady’s gift—ferocity, light and mystic lyricism—preceded any academic musical instruction. It’s not simple genius. Her play contains centuries of traditions—folk and classic-religious fused to one—in the musical culture of Ukraine.”
“The slender and seemingly diminutive violinist displayed remarkable confidence and technical skill to a near-capacity audience at the Boulder Public Library Auditorium at her debut American performance on Sunday. […] She demonstrated poise, professionalism and simple elegance from the moment her bow touched the strings of her instrument.”
(Christchurch, New Zealand)
“The Ukrainian violinist Solomia Soroka, with Jeno Jando, began with a sparkling account of Mozart’s Sonata in F major, K377. The brilliantly opening, and the shaping of the set of variations that make up the second movement, in themselves established Soroka as a truly wonderful musician”.
The Ukrainian Weekly
(New York City)
“Ms. Soroka displayed her true mastery on the violin…performed a repertoire of relatively contemporary “classical” music with passion, diligence, tenderness and, at times, robust virtuosity.[…] When finale was over, thunderous applause, a standing ovation and three curtain calls ensued.”
“Here Solomia Soroka seems utterly confident, catching a haunting, languid quality within Roslavets’s elusive harmonic idiom…Soroka especially shines near the close of sonata movements, where her lyricism pays dividends as Roslavets frequently relaxes the turbulence prevailing elsewhere.”
“A superb duo exploiting Bolcom’s fondness for the fiddle”.
“Another virtuoso piece…is confidently delivered by this brilliant duo”.
BBC Music Magazine
“Soroka with American pianist Arthur Greene, plays with great warmth and authority, allowing music rather more time to breathe.”
American Record Guide
“Soroka manages this difficult music admirably. Her pitch is right on target, and she maintains a smooth sound through Roslavets’s linear obstacle course”.