At the age of 22, Chloë Hanslip has already established herself as an artist of distinction on the international stage. Her recent recordings for Naxos have received outstanding reviews and include John Adams Violin Concerto and Romantic Concertos by Benjamin Godard.  Her two earlier CDs with the London Symphony Orchestra for Warner Classics, won her, respectively, the German 'Echo Klassik Award for Best Newcomer' (2002), and 'Young British Classical Performer' at the Classical BRITS (2003).  Her impressive recording catalogue continues to grow with a recital disc of works by Bazzini, which gained superlative reviews, and her latest recording - Hubay Concertos with the Bournemouth Symphony Orchestra – released September 2009.

She made her BBC Proms debut in 2002, her US concerto debut in 2003, and has performed in major venues in the UK (Barbican, Royal Festival Hall, Royal Albert Hall, Wigmore Hall) and Europe (Vienna Musikverein, Louvre and Salle Gaveau, The Hermitage-St.Petersburg) as well as Carnegie Hall, Metropolitan Arts Space in Tokyo and the Seoul Arts Centre.

Recent highlights included performances with the Philharmonia Orchestra, Symphonieorchester des Bayerischen Rundfunks, Vienna Tonkünstler Orchester, Royal Scottish National, Cincinnati Symphony, Lahti Symphony,  Norwegian Radio Symphony, London Mozart Players, Real Filharmonia Galicia, Tokyo Symphony, Malaysia Philharmonic, National Symphony Orchestra of Ireland, Ulster Orchestra, RAI Torino and the Violins of the Berlin Philharmonic.  Her recitals include the Wigmore Hall and San Francisco Performances.

Forthcoming engagements include a tour with the Moscow State Symphony, a performance at the Royal Festival Hall with the Royal Philharmonic Orchestra/Slatkin, performances with the BBC National Orchestra of Wales, English Northern Philharmonia, City of London Sinfonia, Umea Symphony, Nord Nederlands Orkest, Orchestra Sinfonica di Lugano, Hamburg Symfoniker, Orquesta Sinfonica de Castilla y Leon, Murcia Symphony, Tampere Philharmonic and Beethoven Orchester Bonn.

Conductors Chloë has worked with include Mariss Jansons, Sir Andrew Davis, Leonard Slatkin, Paul Daniel, Paavo Järvi, Pavel Kogan, Leif Segerstam, Richard Hickox, Gianandrea Noseda, Gerard Schwarz, Barry Wordsworth, Claus Peter Flor, Martyn Brabbins, Michail Jurowski, Jeffrey Tate and Petr Altrichter. Chamber Music has become an integral part of Chloë`s life.

She is a regular participant in Open Chamber Music at Prussia Cove, working with Steven Isserlis and Gerhard Schulz, and at the Kuhmo Chamber Music Festival in Finland where she returned for the 40th Anniversary celebrations in 2009.

In addition to her usual repertoire including violin concertos by Britten, Prokofiev, Beethoven, Korngold, Shostakovich, Barber, Bernstein, Mendelssohn, Bruch, Elgar Tchaikovsky and Sibelius, Chloë has been championing contemporary works by John Adams, Philip Glass and Corigliano. Latest additions to her repertoire include Michael Nyman’s Violin Concerto (2003), which she performs at the Michael Nyman Festival in the Netherlands, and Simon Holt’s Witness to a Snow Miracle, which she will perform with the BBC National Orchestra of Wales in October.

Chloë studied for ten years with the Russian pedagogue Zakhar Bron. She has also worked with Robert Masters, Ida Haendel, Salvatore Accardo, and Gerhard Schulz. 

Västerbottens-kuriren Oct 17 2009

BRITTEN VIOLIN CONCERTO: Umea Symphony Orchestra/Rumon Gamba

"The evening's big surprise turned out to be Benjamin Britten's Violin Concerto in d minor, written during the second world war and also a work (this is a reference to Shostakovich Symph no 9) that mirrors the composer's thoughts on how his compatriots lived under harsh circumstances. The young British violinist Chloë Hanslip turned out to be an extraordinarily talented musician, one that no doubt will compete with the world's foremost violinists. Her technical command is wonderful and is perceived as perfectly in the service of the interpretation. Each note is burning hot and melodious but also achingly aggressive when Britten intended.  She has an ability to tie the lines of the work together while lovingly intonating her violin with taste at all times. The insistent applause from the audience was rewarded with a break-neck encore; Capriccio by the American Composer John Corigliano."                         

Bengt Hultman

Christopher Latham - Limelight

"I am converted - she (Chloë Hanslip) is likely to become the greatest violinist of her generation."

ODENSE SYMFONIORKESTER 2008, ODENSE, PETR ALTRICHTER direttore PROKOFIEV CONCERTO NO 2

Jyllands-posten 21.1.2008

"Chloë Hanslip, British, 20 years old. As soloist in Prokofjev’s Violin Concerto she was a phenomenon! She played the concerto superbly, in close connection with Czech conductor Petr Altrichter; lightning-quick changes of atmosphere and tempi perfectly in place. No technical problems (ie meaning: the technical difficulties of the piece were nothing to her),the sound from her wonderful 1730-violin was impressively full and clear. She bubbled with joy in the lively virtuosities, while she made a poetic miracle of the intimate Andante.The audience were totally enraptured by this young and charming performer, who reciprocated with an equally virtuose extra number, from John Corigliano’s “Red Violin”-suite, announced in Danish!”

EDINBURGH FESTIVAL THEATRE, ROYAL SCOTTISH NATIONAL ORCHESTRA, JAKUB HRUSA direttore

EdinburghGuide.com, Barnaby Miln

"November 2007 , the Royal Scottish National Orchestra was under the baton of the 26 year old Jakub Hrusa who was born in the Czech Republic and is currently the Principal Conductor of the Prague Philharmonia. A smaller orchestra, with its conductor using a more restrained technique, accompanied Chloe Hanslip for Mozart’s Violin Concerto No 3. This is one of only five concertos written by Mozart and allows the solo part every opportunity to excel and Chloe did not disappoint. Using the full length of her bow she was in command of her violin and demonstrated too by her movements her integration with the orchestra’s accompaniment. Yet Chloe is just 20 and already a star. This Edinburgh audience was highly delighted with her performance."

CADOGAN HALL 2007, ROYAL PHILHARMONIC ORCHESTRA,

LEONARD SLATKIN direttore

PROKOFIEV CONCERTO NO 1

Classicalsource.com Gill Redfern

"Chloë Hanslip, at 20 years old, has already made a considerable name for herself, both in concerts and as a recording artist, and her persuasive rendition of Prokofiev’s technically demanding First Concerto was due in no small part to her ability to perform from memory and to her impressive visual and musical communication with Slatkin and the orchestra.

Coaxing an impressive range of dynamics, colours and depth of tone from her instrument, Hanslip totally engaged with the music from the outset. Her full vibrato complimented perfectly the work’s more lyrical sections, though, like so many other performances of this piece, some of Prokofiev’s more gymnastic writing came across as somewhat overly aggressive. There were also a couple of moments when she didn’t seem totally comfortable with the orchestral pace, but these quickly passed and it was a credit to her that she seemed willing (and able) to treat the performance as a partnership rather than a duel."

Adams Violin Concerto, Royal Philharmonic Orchestra, Leonard Slatkin

‘The richness and clarity of her tone is beyond learning and she demonstrates such profound empathy for John Adam’s 1993 Violin Concerto…This is the sort of performance that secures a reputation for life. Gramophone Oct 2006

Frankfurter Allgemeine 8th October 2005

“--- She ( CHLOE HANSLIP) is without doubt an extraordinary talent. The extreme demands of this piece, dotted with double-stops, trill-melody-combination, many unaccompanied cadenzas, solo passages and rhythmic finesse were hardly a problem for her--” Wolfgang Sandner

THE INDEPENDENT THURSDAY 13 OCTOBER 2005

BAVARIAN RADIO SO AND CHORUS/JANSONS Philharmonie MUNICH ****

Janson’s soloist in Sibelius’s Violin Concerto was the beguiling Chloe Hanslip, a sizzling young product of the Yehudi Menuhin School. Hanslip produces a full-blooded sound: her wide-spaced vibrato and powerful resonances rendered her an expressive, idiosyncratic advocate of the Sibelius: intense, passionate, not without cheeky waywardness. Her dazzling technical proficiency made sparks fly in the finale. Hanslip’s high spirits whipped you along: tussling with tympani and bassoon, teasing out the allegro’s long-lined big tune, slyly echoing herself in the adagio, or sweeping up to the laughing harmonics in the finale, she delighted the Munich audience.

Key orchestral detail-paired clarinets, vital pizzicato from violas and cellos launching the adagio, and perfectly phased build-up before the end-soke volumes for Jansons' total command of his players. Roderick Dunnett

www.chloehanslip.com