Her polished, refined, and intonationally pure playing was the highlight of the evening. Ralph Vaughan Williams’ soothing and soaring The Lark Ascending- Here, Meyers’s bowing technique — which she made look so easy — produced a flowing, liquid tone, a seamless stream of sound that along with her pitch-perfect fingering held the audience spellbound. REVIEW @sfclassicalvoice https://www.sfcv.org/articles/review/lacos-tribute-las-recovery-disaster

Beautiful sold-out concert with @jaime_martin_conductor @lachamberorchestra #zipperhall @colburnschool performing #larkascending #pacifichasnomemory @ericwhitacre ♥️#losangeles

Masterclass today @colburnschool See you soon ♥️

BREAKING NEWS!!
I’m deeply honored to be named Artistic Partner of the @orpheuschamberorchestra
From our first collaborations, the musicians of the Orpheus Chamber Orchestra have inspired me with their extraordinary artistry, trust, and shared sense of purpose. Orpheus’s unique musical
democracy creates a space where ideas flourish and music-making becomes a truly
collective experience. I am especially passionate about working with the composers of our
time, giving voice to new stories and expanding the violin repertoire. I look forward to what
Orpheus and I will imagine, commission, and bring to life together over the next five years.
@8va_music @wildkatpr

REVIEW @operaclick_news
Anne Akiko Meyers an exceptional violinist, a high priestess of contemporary music, and a Grammy Award winner.
To hear her perform is both a rarity and a privilege. And we—the audience, as well as the conductor himself—were left utterly spellbound. From her astonishing Guarneri del Gesù, she drew forth a golden sound of absolute solidity, a bowing technique of incredible evenness, and phrases of perfect sculptural grace; there was zero showmanship—only pure spiritual substance placed entirely at the service of the music.
The two melodic, masterpiece movements of Samuel Barber’s Concerto emerged as a marvel of sonic arabesques and spiritual power—with Meyers performing flawlessly, and Tjeknavorian and the orchestra moving in perfect synchronicity, united by the exquisite fluidity of their phrasing.
The Concerto’s spirited finale—a *moto perpetuo*—showcased Meyers’ rock-solid technique, earning her a thunderous ovation; Tjeknavorian, turning toward her, joined in the applause. For her encore, she announced—and then exquisitely sculpted into song—the piece "Somewhere Over the Rainbow." As the final notes faded, a discerning lady seated behind me whispered: "I was singing that very song at home just this morning; but after a performance like that, one simply cannot listen to it anymore—it was just too beautiful." True enough. Thank you @sinfonica_mi @emmanuel.tjeknavorian_fp #milan ♥️🌹🎻💃🏻🎶