Beethoven’s Romance for Violin and Orchestra No 2 featured Rachael Beesley as the soloist. Beesley played with tenderness and warmth, and created a wonderful dialogue with the woodwind section.
Sydney Arts Guide 2017
Romance for violin and orchestra No. 2 F major Op. 50 brought Rachael Beesley to the fore on solo violin where she displayed her wonderful touch and virtuosity, along with a great sense of the intricacies of the interplay between the soloist and the rest of the orchestra. The counterpoint between the lighter melodic patches and the more dynamic darker elements was a great feature of this piece, and was beautifully handled.
Director Rachael Beesley then led from the violin in an engaging reading of the same composer’s F Major Romance, her bright, light tone soaring perfectly over the warm accompaniment while she decorated the lyrical line with grace, flair and just the right degree of sentiment. The delicate ending was quite exquisite.
Haydn’s Romance certainly screams Mozart in the beautiful sweeping lines played sensuously by lead violinist Rachael Beesley. Recently launching orchestra seventeen88 in Sydney, it’s no wonder that Rachael is highly regarded as guest concertmaster and director.
L'Orfeo Led by Rachael Beesley, the orchestral sound had an authentic delicacy and responsiveness.
Canberra Times 2014
...the concert continued with Haydn’s G major violin concerto. This was another concert highlight in which Rachael Beesley doubled as both the soloist and director. She played with an attractive, mellow tone and her stylish phrasing brought out the elegance and poise of one of Haydn’s finest works.
Sounds Like Sydney 2014
The players took turns in the spotlight, particularly Rachael Beesley’s eloquent violin...but whether tailored to court or pub, sombre occasions or rustic festivals, this music was delivered with conviction and eloquence.
The Age 2014
The highlight for me was Mendelssohn’s String Symphony, directed by concertmaster, Rachael Beesley. Beesley sculpted beautiful phrases from Mendelssohn’s writing and brought out an incredible amount of depth and emotion in the music.
...the Violin Concerto in G major by Haydn in which the guest director Rachael Beesley demonstrated her brilliance as violin soloist as well as director.
...the group had a charming earthiness, yet a touch of elegance, as I imagine the court orchestras of Europe would have been. I have always enjoyed the strength and confidence of Stamitz’ music, and by the way NZBarok played it, they enjoyed it too.
Fairfax NZ News 2013
Beesley’s solo playing in the Haydn’s violin concerto had discerning style.
[NZ]Barok’s rhythmic vibrancy and emotive spontaneity aroused the audience...
Listener, Christchurch NZ 2013
...and with [guest concertmaster, Australian Brandenburg Orchestra] Rachael Beesley’s very expressive and moving soloistic phrasing, the voices of the period instruments and gut strings were distinctive in the lush setting.
Rachael Beesley’s violin solo deserves mention too, for being extremely expressive and she has so subtle a touch.
Berkshire Review - International Journal for the Arts 2012
...Rachael Beesley's violin solo was as compelling as it was beautiful [guest concertmaster, Australian Brandenburg Orchestra].
Sydney Morning Herald 2012
The Orchestra Project [led by Rachael Beesley] were idiomatic, sensitive and accomplished....if this if the future of Melbourne music, it’s in good hands.
The Age 2012
The period-style experts of Ludovico’s Band [concertmaster Rachael Beesley] sustained a high level of ensemble and dynamic responsiveness, the strings a constant delight for their supple linear interweaving...
The Age 2012
...the virtuosic violin music of the original [Vivaldi’s violin concerto Spring from The Four Seasons], dispatched with professional fire and precision by Rachael Beesley [guest concertmaster, Australian Brandenburg Orchestra].
Dall’Abaco’s Concerto in G minor, Opus 6 No.5...was spirited and led with gracious comeliness of phrase by Beesley.
Sydney Morning Herald 2011
...impressive orchestra [AKBarok] led by Rachael Beesley, best known over the Tasman as [guest] concertmaster of the prestigious Australian Brandenburg Orchestra.
The Spring concerto from Vivaldi’s Four Seasons defined the afternoon. When the music was meant to murmur it did just that, with feathery buoyant textures; and first movement “thunderstorms” were appropriately shiver-inducing. Beesley, with Miranda Hutton and Graham McPhail, offered the sweetest bird choruses.
A lovingly sculpted account of Corelli’s 4th concerto...ended the afternoon, with an Adagio so intensely moving that an encore of a lingering Vivaldi slow movement was appreciated by all.
The New Zealand Herald 2011
...the ABO [Australian Brandenburg Orchestra], under guest concertmaster Rachael Beesley, played tightly and intelligently throughout this program.
North Shore Times 2010
...impressive supportive solos by violinist Rachael Beesley [Australian Brandenburg Orchestra].
The Australian 2009
First and foremost, there is the orchestra [Orchestra of the Antipodes]...led by Rachael Beesley. It would be hard to imagine a finer ensemble of early-music practitioners and Charpentier’s slippery score comes alive in their hands.
Sydney Morning Herald 2008
The ensemble [Salut! Baroque] moved together and was particularly well led by principle violinist, Rachael Beesley.
Canberra Times 2008
Rachael Beesley and Julia Fredersdorf have been playing recently in Europe's best early music ensembles, such as Les Arts Florissants, La Petite Bande and Le Parlement de Musique, and also with Australia's most celebrated period ensembles such as The Australian Brandenburg Orchestra and the Orchestra of the Antipodes. Together...these two violinists give scintillating performances of this all-too-rarely-heard repertoire.
ABC Classics 2006
Particular praise for the top-notch solo violin playing of Rachael Beesley...so sweetly lyrical....it was a treat.
Early Music News 2005
The choir [Sydney Philharmonia Choir] stood in a circle around violinist Rachael Beesley for Raffaele Marcellino’s Ein Psalm Davids...Beesley’s solo soared with Bachian violin figurations as though one aspect of Bach’s art, the chorale, had been prised open to reveal another.
In the uplifting tenor aria Des Vaters Stimme, McMahon’s clear melodic line was beautifully accompanied by fluent obbligato of violinist Rachael Beesley...
Sydney Morning Herald 2005
Baroque violinists Paul Wright and Rachael Beesley summoned an almost filial relationship throughout the evening, but nowhere finer than their sense of awakening in Biber’s Partita VI. It was an evening of excellence.
Herald Sun 2003
...outstanding soloist, violinist Rachael Beesley with her virtuosic playing and story telling...
Haagsche Courant 1998
Letters from violin/viola students from The Royal Conservatoire, The Hague, The Netherlands:
I do not know if you still remember me - you gave me two lessons at the Koncon last spring, which literally changed my life. It's been a long time since I wanted to write a thank you email to you to express my gratitude, as these lessons proved to be a break-through in my violin playing. I have always been very tensed while playing, suffering a lot from physical pain in my back and frustration. You took most of it away, freeing me from tension in the arms, which had been a stumbling block for years. Since lessons with you I made a huge progress on the violin. Thank you so much, I will never forget that.
First of all I want to thank you for the lesson on Friday! You gave me such amazingly good advice on my left and right hand problems! Many things that I kind of already gave up hope on became clear to me after your advice, and now I believe with this help and with the corrections I now started working on, my playing can still develop further!
Thanks for the info and thanks for a wonderful couple of lessons, you've no idea how much calmer and more focused I feel. Though you must have been told before, as well as being a beautiful player (and person), you're the most fabulously inspiring teacher and I know now why I came. I look forward to all our lessons and discussions in the future!
Feedback responses from music students who have have attended courses on Practising-in-Flow at The Royal Conservatoire, The Hague, The Netherlands and have experienced what a difference Flow can make to their practice and performance:
The idea of awareness while playing has been a helpful discovery and is helping me in every performance, practice and lesson :) I think that flow should be part of the training of every musician.
It has been also very influential in my way of facing goals and challenges during the studies: what is possible and what is not, what is a challenge and in which way is possible to increase the interest in something that apparently is not a challenge.
Flow helps us to enjoy every moment of the learning process without being stressed and at the same time trying to organise our concepts to make our learning process more productive.