Acclaim
Inbal Segev Offers Four Great Reasons to Program More Music by Women Composers

[Segev's] dynamic and musically diverse program at the no-frills Center for New Music made me wonder for the nth time why fair representation for women in music is still debatable....

Segev seemed like the ideal performer for [Augusta Read Thomas' Spring Song]: No matter how high she climbed on the fingerboard, she continued to command a slew of colors. Chains of doublestops, evoking carillon bells, rang purely.

Rebecca Wishnia, San Francisco Classical Voice
A strong start to the BSO's New Music Festival

A finely nuanced performance [of the fourth movement of Schubert's Piano Quintet] ... took on particular warmth from the sweet-toned phrasing of violinist Wyatt Underhill and cellist Inbal Segev....
Segev’s rich tone and supple technique served her well in [Gity Razaz's] 'The Legend of Sigh'....

Tim Smith, The Baltimore Sun
Cellist Inbal Segev Carries Dan Visconti’s Folk-Inspired Tangle-Eye Concerto

Impressed by soloist Inbal Segev’s ability to, as Visconti puts it, find nuance in simplicity, he wrote for her a nearly ceaseless flow of through-composed melody, which she played with complete dedication and high intelligence. Regardless of where it was going, the journey was continually interesting.

David Bratman, San Francisco Classical Voice

... a sterling solo rendition of the Sarabande, from the Bach Suite No. 3.

Paul Hertelendy, ArtsSF
Folk music at the core of new cello concerto

Segev’s playing [was] brisk and expert throughout....

Joshua Kosman, San Francisco Chronicle
The Music of Anna Clyne at Roulette - Review

Segev began the concert with a powerful solo, whose slow melody unfolded over a strong open-string drone before shattering into rapid scale passages, Bach-style string-crossing figures, and actual quotations from a Bach sonata. Electronics discreetly boosted the cellist’s rugged tone.

David Wright, New York Classical Review
Anna Clyne at Roulette

[Anna Clyne's] “Rest these Hands” for solo cello was strong, flowing, and pleasantly repetitious. It was played with feeling by Inbal Segev.

Stephen Kaye, The Millbrook Independent
Youngstown Symphony: “Hebraic Rhapsody” (April 9)

The performance was stunningly effective. Inbal Segev, playing from memory, has obviously absorbed the music into her psyche and performed with remarkable energy and expression.

Robert Rollin, Cleveland Classical
BSO serves up a spring tonic

Segev captured the essence of each variation by making sure there was equal footing between lyricism and virtuosity. This piece has everything: trills, glissandi, double stops, harmonics, octaves, and plenty of scales. The entire range of the cello was exploited and Segev was absolutely solid. The applause and standing ovation from the audience was enough for an encore and Segev treated us to the Sarabande from Bach’s Suite No. 3 in C Major for unaccompanied cello.

Ginger Yang Hwalek, The Ellsworth American
Two ways of looking at Bach’s cello suites

Here we have exemplary modern cello playing, which recognizes baroque stylistic ideas without making a fetish of them. Segev’s instrument is older than Bach (a Ruggieri from 1673), but she produces vibrant notes and offers long, lovely phrases without stinting on smaller articulations. And she could sing even more but, in a nod to historical practice, often chooses simpler fingerings in the lower positions, using more open strings.

By Robert Battey, The Washington Post
Review: Bach’s Brandenburg Concertos at Alice Tully Hall

Many joys were provided by intertwining pairs of players — the oboists Stephen Taylor and Randall Ellis and the hornists Julie Landsman and Jennifer Montone in the First Concerto, the flutists Sooyun Kim and Mr. McGill in the Fourth — as well as by individuals. Other notable standouts were Brandon Ridenour, the clarino trumpeter; Marc Goldberg, the bassoonist; and Inbal Segev, a cellist, substituting for an injured performer, but all the playing positively brimmed with life.

James R. Oestreich, The New York Times
Inbal Segev on Climbing the Mount Everest for Cellists

It was on her mind for at least 20 years. Inbal Segev had been preparing, practicing, gearing herself up to consummate her musical career by climbing what she called “the Mount Everest for cellists.” Recording J. S. Bach’s complete cello suites constitutes the pinnacle of her internal journey as an artist so far.

By Milene Fernandez, The Epoch Times
Classical Playlist: Gabrieli, Bach, ‘Distant Voices’ and Mor

... her performances are deft and thoughtful, accurate in pitch and flexible in rhythm. In any case, you may want to sample Ms. Segev’s artistry live at Bargemusic in Brooklyn on Friday evening, when she plays Suites Nos. 1, 3 and 5

James R. Oestreich, The New York Times
Cellist Inbal Segev and the Boulder Chamber Orchestra are sensational

Without exaggeration, I will say that Inbal Segev is one of the finest cellists that I have heard. Her musicianship and prodigious technique remind me very much of the late Janos Starker, whom I had the great good fortune of hearing on many occasions because he taught at my undergraduate school. Every note that she plays is clear, and is done with the obvious conviction that it must relate to an overall scheme. That may sound like an obvious thing to say about a musician, but there are many musicians that I have heard where that simply is not the case.

Robin McNeil, Opus Colorado
Cellist Inbal Segev Treats a Chelsea Crowd to an Intimate Solo Show

The place was packed, an impressively diverse crowd treated to intimate, meticulously nuanced performances... Segev approached the Bach emphatically, digging in hard, especially in the lowest registers as she got underway. Ranging from gracefully balletesque to matter-of-factly scurrying to a similarly considered, wary resonance, she brought a wide emotional spectrum to life... From the first few notes of the concert, Segev had a feel for the room, with a tone that blended rusticity and moody, richly ambered gravitas.

Lucid Culture

Israeli-born cellist Inbal Segev didn't wear jeans, but black leather pants for her blow-out-the-hall solo in Friedrich Gulda’s Concerto for Cello and Wind Orchestra...Every note, except perhaps for a couple of somber ones in the extended, partially improvised third-movement “Cadenza,” was enormous fun...Four curtain calls produced a desired encore, the “Sarabande” from J.S. Bach’s Solo Cello Suite No. 3.

Arkansas Democrat Gazette

To describe Inbal Segev's performance of Avner Dorman's "Cello Concerto" as "electrifying" would be exceedingly appropriate...The forum was all hers, and she could not have given the East Coast premiere of this unique work a better interpretation.

Times Herald-Record

Soloist Inbal Segev's ferocious energy had the listeners on the edge of their seats as if they were watching a NASCAR race in sound.

Anchorage Daily News
Dicterow’s sweet, large, tightly focused tone gave the ensemble a rock-solid leading voice. But cellist Inbal Segev matched him with her thrillingly projected, vibrato-rich playing (not to mention a beautifully judged range of color and dynamics), while Karen Dreyfus’s lean and throaty viola sound provided piquant contrast. It was in its finely woven blend of timbres and rapport, though, that the trio most deeply satisfied.
The Washington Post
"Her playing is characterised by a strong and warm tone...delivered with impressive fluency and style."
The Strad
"...first class...richly inspired...very moving indeed."
Gramophone Magazine
"a near-miracle"
Washington Post
"To play the cello, you have to be comfortable in the dark. Wednesday night at le Poisson Rouge, cellist Inbal Segev and her pal, pianist Fernando Otero, treated a sold-out crowd to a performance as deep and intense as they could have possibly delivered. . . The two musicians seem to be kindred spirits, with an easy chemistry that contrasted with the unease and sometimes outright anguish of the material."
Lucid Culture
"In the tannery’s close acoustics, the Amerigo Trio (named for explorer Amerigo Vespucci) came across as a powerhouse, yet flexible in its approach. The Dohnanyi serenade, modeled on Brahms’ serenades for orchestra, enjoyed both passion and drollery. A high point was the generous lyricism of the fourth- movement variations. In Brahms’ wild Gypsy finale, the players had enough energy in reserve to make the faster-and-faster ending practically fly off the stage."
The Berkshire Eagle
"Segev's playing is fluid and bold, Dreyfus is elegant and expressive, and Dicterow is fantastic."
Berkshire Arts Almanac
"There was something very special about Inbal Segev's cello playing. This young artist is, beyond doubt, a star in the making-her tone golden and unstrained in the high positions, her phrasing that of a born musician"
Musical Opinion
The playing is excellent and expressive...The cellist's tone is warm, pure and beautiful
Strings Magazine
"Inbal Segev has everything I demand from a cellist, her tone is steady and beautifully clear...Segev treats her cello with full comprehension. A level of freedon where all is natural authority...the technical skills are amazing. Nothing seems to be difficult in her hands. ...she impressed not only with a lively interpretation of the extremely difficult last movement of Kodaly's cello sonata, she played through the movement as a folklore story with a lot of dance, feelings, drive and sparkles, yet all the details were heard...but also Beethoven's sonata Op. 102 Number 1 was Inbal Segev. Her lines were melodious and she succeeded where others did not manage."
The Helsinki Times
"Ms. Segev has a deep and powerful tone...Ms. Segev showed not only ample finger dexterity, but also a solid sense of how to build the excitement..."
The New York Sun
"[Segev] proved a powerful player, well-versed in Messiaen's death-defying jumbles and visions. Her too big solos -- one a song of praise for Jesus, the other "a melange of rainbows" -- sang out with passion...that evoked that mystical world."
The Berkshire Eagle
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