"Lowell Liebermann's Concerto for Flute and Orchestra may not have had anything to do with Shakespeare, but in this work the solo flute seemed to be a character, wandering through the opening movement's pastoral scene against a clocklike pizzicato from the strings. Flute soloist Eugenia Zukerman (who was kept very busy that afternoon doubling as narrator for the other three works on the program) played the nonstop line with ease, achieving very nice duets with members of the orchestra.... Ms. Zukerman played with a light touch and very even agility, as other winds joined her in elegant instrumental combinations. Ms. Zukerman had her work particularly cut out for her in the third movement, as a nonstop flute line speeded along. "

"Her musicianship is consummate, her taste immaculate, and her stage presence a sheer pleasure!"

"Cambridge born Eugenia Zukerman is an international triple threat. She is a published novelist, a television commentator and, most impressively, one of the finest flutists of our time."

"Zukerman's magic flute is graceful and eloquent...an absolute marvel of sensitivity."

"...elegance and ardor."

"Zukerman was quite simply superb throughout. The flutist capably handled all of the many technical challenges, from the twists and jolts of the fourth movement to the minute phrasings necessary in the first, and she did it with a warm, inviting and enveloping tone. But what was more important was the result: a subtle, sensitive and expressive interpretation that revealed the heart and soul of this deeply moving music and made it achingly and movingly vivid."

"Zukerman is a bona fide phenom. Few major instrumentalists offer anything comparable to the intelligence and breadth of programming that she brings to her concerts, and this one was no exception."

"...in Mozart's Flute Concerto No. 1 in G major...Zukerman added her own spark...Zukerman's cadenza was strong and serene. She brought out the graceful intelligence of the second movement's melody.... For the rambunctious third movement...Zukerman led the minuet like a fiddler at a square dance. With every lilting cascade, Zukerman lifted the audience to higher ground. The minuet resembled a dialogue between Shakespeare's Beatrice and Benedict. As an encore, Zukerman played Debussy's Syrinx. Unaccompanied and unabashed, she captivated the audience."

"Zukerman's elegant performance was polished and expressive. Intonation was impeccable, and Zukerman's phrasing sounded effortless."

"What made the concert so noteworthy was not only the unusual music that Zukerman played with world-class virtuosity and musicality, but also her presentation and stage presence."

"[An] exceptional musician, Ms. Zukerman gave the beguiling Ibert work a stylish and virtuosic reading that brought out all of its Gallic spirit and elan. The enchanting slow movement and a dazzling last movement cadenza were special highlights of this brilliant performance."

"The most remarkable performance was by Eugenia Zukerman on flute, who played Martinu's drawn-out, Bohemian-tinged phrases with seemingly no need to come up for air."

"Guest artist Eugenia Zukerman took center stage for two works. In the first she demonstrated her fine skills as a flutist in...Bach's Suite No. 2 in B minor for flute and strings. ...Zukerman played with uncommon skill and lovely tone....After intermission, Zukerman returned to pay....Libby Larson's "The Atmosphere as a Fluid System," written for Zukerman in 1992....As a showcase for Zukerman's performing kills..."Atmosphere" was brilliantly effective. Larson's work began with a technically challenging passage for flute alone. Included were many moments of weird pitch fluctuations that only a master player could bring off effectively."

"She was the master of her instrument and performed with facility and sensitivity, capturing the spirit of the piece."

"The work is Lowell Liebermann's Concerto for Flute and Orchestra. It was performed Friday night by flutist Eugenia Zukerman and the DSO, with Andrew Litton conducting. Ms. Zukerman gave a fluid and graceful performance of the work, which has two predominantly lyrical movements followed by a livelier, virtuosic finale."

"Eugenia Zukerman shone as the flute soloist for Mozart's Flute Concerto No. 1 in G Major. Zukerman performed with style and precision in bringing this gem to life."

"Flutist Eugenia Zukerman shone brightly throughout her many complicated passages [of Mozart's Concerto for Flute and Orchestra K. 313] playing with an ease and delicacy that focused attention fully on Mozart's masterful score. Zukerman proved herself just as much a master of the wind instrument. She appeared immersed in the music, imaginatively climbing its clefs, willingly trapped in it and by it and ready to render an excellent rendition of what she was hearing with her inner ear, thereby sharing her vision of Mozart with us."

"A poised and confident Ms. Zukerman captivated the audience with the free-flowing first movement [of Mozart's Concerto for Flute and Orchestra in G], a whirl of perpetual motion, and again with the courtly rondo/minuet finale, contributing mostly her own multifaceted, graceful cadenzas filled with bravura passagework. Later, the guest artist returned to emulate the sweetest birdsong imaginable on the short, romantic Serenade for Flute, Harp and Strings of American Composer Howard Hanson. This idyll dramatically spotlighted the flute in soaring melodies."

"Zukerman's enormous energy shone through each soaring line. Her performance was superb. Whether she was reflecting a whipporwill, as in a Martinu sonata, or a perky blackbird, as in Messiaen's Le Merle Noir, Zukerman's breath control and digital dexterity were limitless. The real excitement of the recital was the world premiere of Streams of Tender Ribboning Time for unaccompanied alto flute, written for Zukerman by Deborah Drattell. In a departure from the evening's bravura playing, Zukerman explored the mellowness of this work with rich and languid sounds and a lazy vibrato. Zukerman underscored the lyricism of Drattel's work and its contemplative mood with a gently placed tempo."

"Zukerman, a dazzling virtuoso, makes music as it is meant to be made; combining a beautiful sensitivity with technical finesse that is almost unbelievable. Here is an artist who spins with her music a magic web that she spreads over an audience to pleasantly ensnare it as she offers some incomparable enrichment...the astonishing thing...was the artistry of Zukerman, a combination of music and personal sensitivity with a technique that boggles the mind. The artist combines deftness of hand with a stunning breath control. The result is an unending flow of delicate, warm, silvery sound that is hypnotic in its quality."

"What was immediately striking about Zukerman's playing was her golden tone...Zukerman's unique timbre is unmistakably hers. Technical prowess being second nature to her, she affixed this work [Mozart's Flute Concerto No. 1] with an aural smile and a countenance of pure joy."

"One of the world's most distinguished flutists, Zukerman is comfortable with a vast repertoire. Consequently her choices for the evening avoided clichés. She opened with the Concerto in E Minor by Giuseppe Mercadante, a 19th-century composer dear to serious flute players. The concerto is an excellent vehicle for a flute virtuoso, with many runs, ornaments and melodic passages. After the intermission, Zukerman reappeared for Antonio Vivaldi's Flute Concerto in G Minor; "La Notte." Delightful and unpretentious, this short piece barely qualifies as a virtuoso work. But as Zukerman skillfully blended her lovely tone with the upper strings of the Sejong Soloists, one could only have been glad to have heard the piece."

"Zukerman took the stage for...Jacques Ibert's Concerto for Flute and Orchestra. All of Ibert's oevre is attractive, and this piece is no exception. Written in 1934, the flute concerto creates a pleasing dichotomy between flute soloist and small orchestra. The contrasts so characteristic of Ibert are abundant. Zukerman's performance was energetic but understated, which is essential to the success of this work (Ibert was after all, a composer of chamber music.) Although the rhythmic element in Ibert's music is so strong that there is little room for rubato, Zukerman found numerous suitable places to introduce it into the phrasing."

"The second work, Concerto for Flute and Orchestra by J. Ibert displayed the talents of the featured artist.... Zukerman has enjoyed an extensive performing career and is the music director of the international Vail Valley Music Festival in the Rockies. The first movement, Allegro, was very quick in tempo, with fast articulation in the solo flute. The second movement, Andante, balanced the first movement, being very serene and pastoral. The last movement, Allegro scherzando, echoed the first movement and displayed the talent of Zukerman - especially with the rich tones of her low notes."

"For the remainder of the program, Zukerman turned to the gold flute playing often with brilliance and a sensuous glow. Technique, she has to spare, and her trills in a Poulenc Sonata for Flute and Piano, with Victor Rosenbaum as pianist, were spectacular. Here too sharp contrasts of color, tempos and dynamics occurred with such suddenness and grace as to heighten the work's sly charm. For the Vivaldi Concerto in D. Op. 10, No. 3 and a C.P.E. Bach D minor Concerto, Zukerman was accompanied by the Longy Chamber Orchestra, directed by Rosenbaum. Her phrasing was flowing, cadenzas were slick...both concertos got warm, lively readings."

"...Mozart's bright little Divertimento in D, K. 136 and two Vivaldi flute concertos exquisitely played by Eugenia Zukerman, showed how good 18th century music can sound on modern instruments...Zukerman's graceful, eloquent performance brought out the descriptive values in Vivaldi's La Notte, which describes the atmosphere of the night and Il cardellino , which includes some delectable bird imitations."