“The complete performance of such a colossus as the Six Suites for solo cello by Johann Sebastian Bach is a test of highest artistic maturity, which was brilliantly demonstrated by Ukrainian cellist Natalia Khoma. Despite, in fact, the benchmark accuracy of the musical text, the artist, on the one hand, demonstrates a wide range of complex emotional and psychological states, sincere adoption of Bach’s music, on the other hand, a deep philosophical and meditative way of reading, conceptualism, thoughtfulness speaks of Natalia Khoma as a true artist-interpreter, capable of building her own sound picture of the world through the prism of Bach’s music - original and exciting...

And here is Natalia Khoma’s talent in reproducing a variety of movement forms, not only in a pragmatic-rational dimension, but also in a wide palette of sonorous-agogic effects and colors, unfolding the bright visual and pictorial dynamics of drama.

Delicate grace and weight, fluidity or flying lightness of the bow with the same perfect fluency of the fingers, cantilena singing and recitative eloquence - with such a powerful arsenal of perfect technique of “dominion” over the instrument, the artist reached the level of a great dialogue with herself, the listeners, Bach in her monologue presentation of the cello solo and God. After all, the goal of the desperate work to accomplish such a grand idea is first of all Natalia Khoma’s appeal to contemporaries - people of the 21st century, for whom, despite the technocracy and the vanity of the frantic pace of life, these Bach cello suites will allow them to stop, immerse themselves in the incomprehensible sound world of music, designed to open the way to the eternal mankind existential search for themselves, the meaning of existence.

And also - Natalia Khoma’s performance style impresses with a high sense of measure, nobility, intelligence: no ostentatious effects or hypertrophies characteristic of many virtuosos, instead, the desire, while preserving the “earthly” level of sound, to capture the inner essence, rising to the spheres of super- or subconscious feeling timelessness, mystery, irrationalism of baroque metaphysics, meditative-reflective contemplation, in an effort to find the cherished codes left to us by the messages of Bach’s genius, bringing the applied level of dance into the sphere of the “circle of the supernatural”... Well, we can subscribe to every word, meeting the outstanding Ukrainian cellist Natalia Khoma in the rays of world fame, whose performances are a great artistic revelation, and her successes and achievements on the world music map are symbolic for Ukrainian musical culture”

“Khoma?  – this cellist encompasses the mystery and mastery of all these artists.  You will never “see” this, only experience its magnitude. Transparent angel, innocent, profound, subsumed by what she hunts, she brings no persona to her performances. Tell her after the concert how moving her duets with Young were, she marvels at Schumann’s genius, ingenious genius herself!”

“Khoma and Vynnytsky played the powerful Sonata No. 1 in E minor by Johannes Brahms, an essential piece in cello repertoire, as well as a more contemporary duet titled “Requieboros” by Catalan composer and cellist Gaspar Cassado… Khoma played with a genuine intensity and power that is difficult to achieve, but also very moving… The duo ended the program with a fiery piece composed by Vynnytsky himself, titled “The Lost Tango.” Khoma stated that Vynnytsky often jokes about the title, saying, “I found it!” … I could feel the genuine emotion that Khoma and Vynnytsky poured through their instruments to the audience. Both showcased precision and mastery of technical skill, as well as an outpouring of expression and love for music and country, leaving a lasting impact. Ukraine was clearly in their hearts, and now is even more intimately in mine.”

“Natalia Khoma is a cellist just as fabulous as Yo-Yo Ma.”

“Watching from Lowcountry, acclaimed Ukrainian musicians… ”

“She dispatched its bravura passagework with brilliant precision. Indeed, there was a fleetness to Khoma’s execution of these sections that sparkled – and her intonation in the “Variations’” several flights into the stratosphere was flawless.”

“A stellar delivery by Khoma...”

“Cellist Natalia Khoma returned to perform once again here March 25, much to the delight of those attending the concert at the Lyceum in historic Old Town Alexandria who welcomed the performance with standing ovations.”

“Natalia Khoma commands Bach Cello Suites: Cellist Natalia Khoma exhibited tremendous pacing, stamina and control in a transcendent performance of Bach’s last three cello suites at the Huguenot Church on Friday”

“Sensitive rendition of Elgar’s cello concerto, featuring Charleston’s own Natalia Khoma: During the concerto, Khoma was the clear leader; Lam needed only to listen (and watch her) carefully, and act as her conduit to the orchestra. He did just that, and a little more: He was the lightning rod that both absorbed and delivered energy, always with genuine feeling… The concerto… was played by Khoma with the verve of a Moscow Conservatory-trained artist, but also with a discipline of technique only the finest musicians display. Her command was total during the mournful first movement, the flashy second movement, the sweet aria-like third movement and the robust finale. The music came across as if it had been thoroughly processed intellectually as well as technically, as if Lam and the players were touring this terrain arm in arm.”

“Mother-Daughter Cellos Steal the Show: To see and hear two cellos romping through all manner of changes in dynamics, tempo, and harmony, and doing so in perfect synchronicity, is breathtaking. How these two make it look so easy is a mystery and marvel to me… de Falla allowed her to unleash the full force of her signature power and passion.”

“Bach cello suites get virtuoso treatment: Her interpretations were rich and colorful. Her skill resulted in an expressive performance – layered, dynamic and flexible. Memorable music-making…”

“Those present were fascinated and enchanted by listening to the …compositions of Schubert, Cassado, Villa Lobos, Chopin, Haydn, Skoryk… stormy applause and ovation showed admiration, and as a token of gratitude to the performers were presented with beautiful bouquets.”

“Natalia Khoma Commands the Cello Suites: GREAT MUSIC requires great talent to bring it alive. The stupendous six suites for unaccompanied cello by J.S. Bach certainly fall into this category, as does Natalia Khoma who is performing them during Piccolo Spoleto… she manages a remarkable articulation of expression. None of the nuances (of which there are many in the suites) are lost. On the contrary, her sprightliness adds focus to the myriad journeys that Bach takes you on. In the case of his cello suites…it is fair to say that they touch the full range of human emotions with unparalleled depth and objectivity… Natalia corralled each suite from the start by making the Prelude a powerful declaration of intent that persuasively put the suite on its course and allowed its fellow movements to unfold coherently… This is majestic music artfully rendered…”

“I don’t think I’ve ever heard a cellist and pianist so perfectly in sync with each other in this movement, the cello’s arpeggios picked up and precisely echoed in the piano’s roulades several measures later… I credit her, for not once in the entire work producing a single rough or abrasive sound with her bow, though she plays with a good deal of bite. It’s the kind of bite, however, that’s always clean and razor-sharp…there’s exceptional rapport between the players… These are… fine performances and recordings of two of the cello repertoire’s major works.”

“Khoma is remarkably effective in sustaining different sounds on her cello, giving each new phrase a different character. The dynamic range is wide… giving the Schostakovich an occasionally shocking intensity. Clarity is remarkable in both recordings. These are immediate… sensitive recordings, unusual… brilliant performances.”

“Ukrainian­born cellist Natalia Khoma, with Swiss pianist Adrian Oetiker as her partner, presents moving accounts of sonatas by Shostakovich and Brahms. Both works have abundant amounts of lyrical beauty, which these artists express to perfection. Both are studies in contrast in which the expressive element chisels against sharply defined forms to produce something of immensely greater value. Glorious!”

“Yes, this Monday Night concert was about the music…But it was the musicians, cellist Natalia Khoma and pianist Volodymyr Vynnytsky, who left us dazzled and on our feet. Charleston, we are lucky to have these two in our midst. Natalia and Volodymyr hold nothing back on stage. Every drop of their inspiration, artistry, and pleasure gets handed to the audience in dramatic fashion. During the performance, I kept thinking of superlatives—lots of them. It was a visceral experience simply because their passion—nay, their hunger for—playing music is so palpable and infectious. Natalia unforgivingly commands the cello to give her every bit of nuance and sound that it can muster. She engulfs the instrument, leans on it, and somehow puts it under a spell so that it becomes her own heart and soul uttering all manner of emotion. She literally tears into it, pulls sound of it, sways with it, and forgets about the audience as she launches into a pulsation of feeling that immediately draws the listener in. You want to go on this fantastic journey with her and you trust her at every step. The long and short of it is that you never want to miss a chance to see these two perform. And I, for one, am going to seek out a copy of their CD that includes many of the same pieces that we heard last night.”

“With Technique to Burn: A chamber music stunner… Khoma and Vynnytsky intuitively performed the cello sonata (Dmitri Schostakovich) - a monumental work, symphonic in proportions - with lyrical sections offset with angst-ridden, eerie, and despairing episodes. With instrumental technique to burn, this duo recreated the drama and typical sarcastic comments that Shostakovich interjected in his most serious works… Khoma’s intense cello playing brought out her instrument’s warm qualities as well as its eerie and unsettling sounds. Her powerful attacks were devastating…  The audience gave the artists two standing ovations, one for the sonata and one for the trio. Khoma, Berlinsky, and Vynnytsky focused on this music as few others do.”

“These two sonatas make for excellent disc mates and a program of sweeping, impassioned music. …she produces intensely Romantic phrases, broad gestures of dynamics and rubato, and draws an immense amount of sound from her instrument.”

“Grammy Comes to Charleston: Regnier performs all of the album’s guitar solo pieces… World-renowned cellist and fellow CofC professor Natalia Khoma collaborated in a chamber sonata for cello and guitar. The album was recorded at the fabled Skywalker Sound Studios north of San Francisco at the ranch that houses media mogul George Lucas’ digs… Regnier described his excitement upon getting the news: “ My producers verified that indeed, we had been nominated for a Grammy in one of the toughest categories, and in a year when the Recording Academy received more Grammy entries than ever before.”

“Rare and Well Done: Marc Regnier, along with flautist Tacy Edwards, fellow guitarist Marco Sartor and, especially, cellist Natalia Khoma, has produced a collection of solo and duo music that is both harmonically complex and emotionally rewarding and gives evidence of the considerable instrumental virtuosity of each musician involved… This album deserves the highest possible recommendation, on a scale of 10, an unequivocal 10.”

“Allegro assai, a jocund movement that skips and laughs at the end of each phrase, showing off the dark, warm, and cream-like tone cellist Natalia Khoma effortlessly creates.”

“Natalia Khoma is solid of technique and tone… adept at modulating to suit the mood and style of each individual piece. Volodymyr Vynnytsky, in addition to being a technically secure, bold, and characterful pianist, gives evidence of being a very talented composer.”

“The song-like Andante was as sublime as one expects human playing ever to be.”

“This makes an impression from the start… This is one of the most effective readings of this famous sonata I have heard. They (Khoma and Vynnytsky) take interesting liberties with rubato and phrasing, but it sounds right and the balance between instruments is effective. It is surprising to have performances of two such varied works that are both outstanding.”

“A musician on the fast track to being acclaimed one of the world’s greatest living cellists.”

“Here is a program of cello music with the concept that works! All of the pieces have dance associations, yet there is such variety of treatment by the composers that nothing seems predictable yet everything seems enthusiastic.  Altogether, this is satisfying programming with fine playing, clean technique combined with warmth of feeling.”

“A deeply emotional yet meticulously precise reading, full of fire, that transcended the barriers of music, musician, and audience.” “Ah, the Gigue! A spiraling cascade that encompassed the entire range of emotion in the suite and served ample justification to Khoma’s fiery and emotional approach.” “The prelude brought out its cries of joy and pain while Ms. Khoma’s fluid and precise dynamic control showed a meticulous attention to detail, as well as an intimate knowledge and deep love of this work. The Sarabande was a spellbinding return to the second suite’s theme of longing, with a backdrop of pure and deep love. This suite’s Gigue keeps one guessing, even though the resolution is inevitable and absolute on this day, it was over far too soon for these humble ears. The audience agreed, and within seconds were on their feet.”

“The musicianship on display here is excellent. Both cellists exhibit technical fluency and a warm tone, and Polish-based Ukrainian soprano Pasichnyk has exactly the right instrument for such a wide-ranging vocal line… Treny is…distinctive and… polished in performance.”

“The Khoma-Vynnytsky duo epitomizes elegance of execution, virtuosic technique, a sense of internal drama, and the merging of two artists playing as one.”

“Cellist Pianist solo soulmates: Without doubt Khoma and Vynnytsky are soloists in their own right, but their individual qualities are slightly set aside when they make music together: surely soulmates, firm and stylish in their approach to Beethoven, Chopin, Shostakovich and Cassado.” ”… global perception of the music… the balance was perfect…”  “More one cannot ask from this predominantly lyrical rendering.”“Their performance of Vynnytsky’s highly flamboyant exciting composition entitled Tango was a splendid conclusion for a performance of manifold musical planning.  It was studied interpretations from which spontaneity shines as result of secure playing and expertise feel for the nature of ensemble playing”

“Khoma and Vynnytsky treated the lavishly scaled four - movement work (Rachmaninoff Sonata) on a grand scale, impassioned and emotional with its profusion of gorgeous melodies… Khoma is an extremely skillful cellist, revealing all of the subtle and burnished aspects of her instrument and Rachmaninoff’s music… Reflecting incredible technique and deep musical understanding, Vynnytsky is as masterly a keyboard artist as you will ever hope to find.”

“She makes her cello sound very powerful and heavenly beautiful. She’s truly a world-class star.”

“We have attended and enjoyed all varieties of concerts in Charleston – the choirs, the orchestras, the pianos, Spoleto, etc. – and the college concert we heard Sunday was the best chamber music concert we have heard in Charleston… When Natalia Khoma played, one could see her love for the notes. She played thousands of notes and never missed one.”

“The strength of the playing lies in Natalia Khoma’s sense of drama and attention to timbre.”

“The performances are very fine. Krysa and his partners, Natalia Khoma on cello and his wife, Tatiana Tchekina, on piano, capture the composer’s particular voice just about perfectly.”

“Khoma plays with masterful authority. Her bow arm is natural, relaxed and fluid, her left hand technique effortless and utterly secure. Her tone is dark, focused and pure. The playing was perfectly controlled and beautifully expressive. Magical and deeply touching…”

“The highlight of the concert, the Tchaikovsky, with Khoma as soloist, wowed the audience… Khoma’s technical ease and soaring, penetrating sound, reverberating in the Great Hall as she exposed Tchaikovsky’s Russian melodies expressive of his declared love of the Russian landscape.”

“Khoma is an exceptional performer...”

“Piano-cello duo shine light from mountain music hall: That erratic luminosity flashing above the northwest Catskill escarpment just after sunset Saturday night was no August aurora borealis. It was generated by the electrifying stellar conjunction of cellist Natalia Khoma and pianist Volodymyr Vynnytsky performing in Grazhda… Deploying all the technique acquired in a lifetime of practice and performance, they literally “play” in a spontaneity that has universal reach…it is as imposible to ignore the resonance of Khoma’s pedal tones and vibrant cut of her cello voice as it is to ignore her evolving loveliness. What counts, of course, is neither external beauty of sound or person, but the subliminal effect of interpretation. Here, she is most subtly effecting – passion and poignancy (in Lysenko).”

“Cellist of impressive quality…  Romanticism was then triumphantly presented in Brahm’s cello sonata in e minor …What Natalia did in the cantilena in the coda of the first movement was enchanting. The Allegretto (2nd movement) had such flair, the fugue like Finale such brilliance… in one word: superb!”

“Cello with Heart and Soul: Natalia Khoma has a perfectly natural way of playing without a hint of theatrics… the impression she leaves is all the stronger. She is the ideal transmitter of the composer’s thoughts to the audience. In her playing she never strikes a pose, but precisely by her introspective simplicity she manages to reach into the essence of things… Because, in a very personal way, she can also communicate to the world at large what she has discovered in the music, listening to her becomes participation and shared experience… she played with unsurpassed beauty.”

“They presented the audience with a professional, expressive and dazzling performance of each piece of the program…They played interlacing melodies with great artistry, enthusiasm and unity of spirit. … excellent bow work… The fourth movement was bright and robust… followed by a standing ovation.”

“Khoma possesses a large and very articulate sound…Finest playing… Natalia Khoma smoothly integrates the percussive dance rhythms into her lyrical playing that makes the piece bubble along.”

“Passionate artistry wins standing ovation. Natalia Khoma... played Sunday with a passionate intensity and big sound, her lower notes nearly causing a seismic event. ...lush sound… The audience was delighted by the performance, giving the artist a standing ovation.”

“Ukrainian cellist performs spectacularly at Marston: Natalia Khoma played with unshakable authority from note one of Friday night’s concert… powerful technique and melodic skill... listeners witnessed her seemingly endless array of stylistic colors... Khoma breezed through the staggering alternations between technical extremes in the cello part, particularly in the second Allegro, as though they were mere nothings.”

“Excellent concert… The music (Shostakovich sonata) developed with the stark inevitability made all the more profound by the evident passion of the players. Tchaikovsky’s Pezzo Capriccioso, a genial trifle which allowed Khoma to display her extreme technical proficiency most effectively… Khoma played entire piece (Sorrow by Lysenko) with great warmth, sensitivity, and feeling… Schumann’s Fantasiestucke, received suave and serene readings… Khoma’s intonation was pure and clear, her phrasing flexible yet firm, and the co-operation between Khoma and Gagnon striking in its unanimity of sound and structure… Brahms’s Second Hungarian Dance brought Dunning Hall audience to their feet.”

“An Ukrainian cellist in ecstasy: .The audience could recognize a great interpreter - the Ukrainian cellist Natalia Khoma. Right after came the Finale, Allegro molto and with it the opportunity for the soloist to demonstrate her abilities as a virtuoso. When it was over (Haydn’s C major cello concerto), the audience had already fallen in love with the soloist, applauding without stop. The cellist …couldn’t refuse to the encore and played again the Finale in a way even more brilliant. But the applause went on and Khoma decided to play alone a Bach Suite… After all, the young beauty prevailed as she was a master, who can dominate anything with the power of her music..”

“Temperamental and sensitive… strong sound, precise in articulation and delicate in the inflections, with an ostentatious gesture which designed the melodic lines and merged perfectly with the orchestra. ...performance full of vitality, fluency and virtuosity. It is specially to emphasize in Khoma the sound sliding along the rubbing of the bow at the beginning of the Adagio or the virtuosity of the Finale, which she was obliged to play again as an encore.”

“A heavenly evening. It was the best concert we’ve ever had… Khoma played as if the instrument were an extension of her soul, intensely involved with the spirit of the music in her mind. Natalia’s involvement with the music and her instrument was just transforming.  She played with tremendous fire and passion.  The combination of passion and expert-playing was amazing. This live music was exquisite… Angels in heaven…”

“Treasure trove of strong playing and powerful interpretations brings audience to feet: Sensuously grounded, transparently brilliant performance… Her power is augmented by commitment mortal as a bull fight; the pyrotechnical challenges in the works are torched to spark and flame. While she plays she exists at a level untouched by conscious aesthetic or technical consideration... Her connection to the cello carnal and direct. She’s easy, poised for challenge, for a release of power she anticipates with pleasure. Immersed in play, her tone is vibrant and strong. Pedal notes sink effortlessly; there is no virtuosity, only voice – a voice that plays Khoma as she evokes it. It’s a redundancy to add that Khoma’s intonation is impeccable, and the precision of her executions, Slavic Zen.”

“Natalia Khoma is a great, young musician... and will be a representative of the elite who will take after Slava… ...superb concert. From the first downstroke of her bow in Rachmaninoff’s beautiful Vocalise, it became apparent that here there would not be much to criticize. A full, warm, cello tone with everything else in addition which words cannot describe. A singing Vocalise, beautiful without being sentimental. And, what a drive! What musicality… brilliantly played… intense performance... strong and profound.”

“The musical and technical quality of her performance was superb; she achieved everything she set out to achieve which was to be accurate, to play with intensity and brilliance and with perfect structure. Her performance was enthusiastic and warm… She epitomized the tradition of the Russian school of excellence; technically dazzling and a performance imbued with feeling.”

“Natalia Khoma performed the Haydn C Major concerto with intensity, great inner concentration and obvious power of performance.”