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,
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
— 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
"Sitting alone on center stage, charismatic Inbal Segev brought strong melodic direction to the solo part, coloring it with rich tone, secure presence and complete technical mastery. She encored with a sensitively nuanced Bach "Sarabande", from the first cello suite."
— The Jerusalem Post
"...remarkable conviction...This is a recital full of soul, played with a warm rich sound and lots of feeling."
— American Record Guide
"...an extraordinary interchange of musical thought..."
— Maine Sunday Telegram
"Inbal Segev performed the demanding concerto in B minor for cello and orchestra with maturity and warmth...assurance of a major solo career"
— The Lehigh Valley Express Times
"Her performance of Elgar's cello concerto brought a standing ovation from the Lawton audience. Swept up in the composition and the sound of the orchestra, the stunning 27 year old performed with her eyes closed...Liberties were taken for sure by Segev, but she wove her individuality into the solid fabric of the concerto...a masterful rendition."
— The Lawton Constitution (Oklahoma)
"Inbal Segev drew dark, strong and lustrous sounds from the rare Nicolo Gagliano cello on loan to her through the Stradivari Society of Chicago. Here and throughout the evening she distinguished herself as a player capable of expressing strong, deeply felt emotions-including vigorous bursts of (potentially) explosive energy, while maintaining withal a quality of sound and sense of ensemble balance."
— The Cape Cod Times
"...performed with exceptional power."
— "Classical Discs"-The Jerusalem Post
"This was a performance that recalled the cello giants of past generations: Emanuel Feurmann, Gregor Piatigorsky, Leonard Rose, etc. Ms. Segev gave a truly brilliant rendition of this monumental work for cello and orchestra. She plays with poise, control, impeccable intonation, astounding technique, and does it in an atmosphere of joy and beauty. The listener is totally consumed by her beautiful sound and artful interpretation."
— San Diego Jewish Press Heritage