Erika Nickrenz, piano
Sara Parkins, violin
Sara Sant'Ambrogio, cello
The most sought-after trio in the world, the Grammy®-nominated Eroica Trio thrills audiences with flawless technical virtuosity, irresistible enthusiasm and sensual elegance. Whether playing the great standards of the piano trio repertoire or daring contemporary works, the three young women who make up this celebrated ensemble electrify the concert stage with their passionate performances. The New York Times writes, “They play chamber music for the concert hall. There is an edge of the seat intensity to every note they produce”. The Trio won the prestigious Naumburg Award, resulting in a highly successful Lincoln Center debut and has since toured the United States, Europe, and Asia. While maintaining their demanding concert schedule, the Eroica Trio has released eight critically lauded recordings for Angel/EMI Classics Records, garnering multiple Grammy® nominations.
The unique history of the players of the Eroica Trio goes all of the way back to their childhoods. Their first connection was made when ‘cellist Sara Sant’Ambrogio and pianist Erika Nickrenz were just 12 years old. Sara’s father, John Sant’Ambrogio, then principal ‘cellist of the Saint Louis Symphony Orchestra, was being recorded by Erika’s mother, Grammy Award winning record producer Joanna Nickrenz. This working relationship led to Erika joining Sara at her family’s music camp in the Berkshire Mountains, Red Fox, where Erika studied piano with Sara’s grandmother, Isabelle Sant’Ambrogio, a renowned pianist and pedagogue.
The trio’s musical connection continued when, a few years later, Sara decided to strike out on her own and attend renowned music camp Meadowmount. There she met, played and became fast friends with violinist Sara Parkins. After playing together that summer, Sant’Ambrogio was invited to finish High School at The Curtis Institute of Music in Philadelphia and Parkins was accepted to attend Juilliard Pre-College where she met and started playing with Erika. Later, Parkins decided to join Sant’Ambrogio at Curtis where they happily renewed their personal and musical friendship. After a year as roommates and musical collaborators, Sant’Ambrogio was invited to attend Juilliard where she resumed playing with Erika.
A few years later, Sara Parkins and Erika Nickrenz reunited at the Tanglewood Music Festival. That same year the Eroica Trio was formed at the Juilliard School. This intricate web of early connections helped forge a lifelong bond between the three women of the Eroica Trio. Their deeply personal, passionate music-making and uncanny ensemble and chemistry onstage have thrilled audiences world wide.
The Eroica Trio performs the Beethoven Triple Concerto more frequently than any other trio in the world, having appeared with renowned symphonies such as Chicago, St. Louis, San Francisco, Mostly Mozart Orchestra, Nashville, Indianapolis, Atlanta, Pittsburgh, Houston, New Jersey and Seattle. In addition, The Trio has performed the work abroad with Orquesta Sinfonica de Euskadi in Spain, Haydn Orchestra in Italy, with the Royal Philharmonic Orchestra andBudapest Symphony in Germany, and on multiple tours in the United States with the Cincinnati Symphony as well as with the Prague Chamber Orchestra, culminating in a Lincoln Center performance. The Eroica Trio’s recording of the Beethoven Triple with the Prague Chamber Orchestra was so successful it landed this piece on Billboard’s Top 20 for the first time in recording history. The Trio appeared on the German television program "Klassich!" performing the Beethoven Triple Concerto with the Munich Symphony, which was aired throughout Europe. This season, they toured North America with the Vienna Symphony Orchestra under the baton of Maestro Fabio Luisi, culminating in a performance on the “Great Performers at Lincoln Center” series in Avery Fisher Hall in New York City.
The Eroica Trio is on the vanguard of a new generation of artists who are changing the face of classical music. The first all-female chamber ensemble to reach the top echelon of its field, the Eroica Trio broke an age-old gender barrier. As the Chicago Sun Times remarked, "Our image of the piano trio is largely formed by groups like the celebrated [original] Beaux Arts, three middle-aged gentlemen who apply their wisdom and artistry to their chosen repertory. That image is about to change." The Trio took its name from Beethoven's passionate Third Symphony. Italian for "heroic," eroica is a word that aptly reflects the ensemble's approach to music. As critics have noted, "It's been decades since this country has produced a chamber music organization with this much passion." (The San Francisco Examiner)
The Trio has established a unique identity by creating innovative programs that span 300 years of music. A typical Eroica Trio concert might include the Baroque symmetries of Vivaldi, the passion of Brahms, and Mark O’Connor’s Bluegrass and rock-a-billy ode to Johnny Cash, “Poets and Prophets” which was written for them. The Eroica Trio is a strong champion of new composers; each season includes an American or world premiere of a new work. Recently, the Trio premiered a new Triple Concerto by the American wunderkind Jay Greenberg and the world premiere of a work by acclaimed American composer, Kevin Puts, commissioned by Music Accord. Whatever the repertoire, “the Eroica’s artistry is powerful enough that it could play the back of a cereal box and make it compelling.” (The Charleston Gazette)
As the official representative for New York's Carnegie Hall, the Eroica Trio opened the sold-out "Distinctive Debuts" series at Weill Recital Hall. This touring series, created to showcase rising stars of classical music, was internationally sponsored by a consortium of European halls and included performances at Konzerthaus in Vienna, Concertgebouw in Amsterdam, Philharmonie in Cologne, Alte Oper in Frankfurt, Symphony Hall at ICC in Birmingham, and Konserthus in Stockholm. The Eroica's performances were received with rave reviews. "The Trio plays with technical flair, raw, driven energy and high spirits. The ensemble also has plenty of charm and stage presence. It was obvious that all three musicians were having as much fun as the [Carnegie Hall] audience." (The Wall Street Journal)
Immediately following its acclaimed Carnegie Hall debut, the Eroica Trio was offered an exclusive five-record contract by EMI Classics Records, which was extended in 2002 to include three additional recordings. The Trio's self-titled debut CD, which features works by Ravel, Benjamin Godard, a commissioned arrangement of the Gershwin Preludes, and Paul Schoenfield's Café Music, was awarded NPR Performance Today’s "Debut Recording of the Year" and featured in Time Out New York’s "Top Ten Recordings". The ensemble's second disc, "Dvorak/Shostakovich/Rachmaninoff", concentrates on the works of those composers, as well as the Trio's own arrangement of Rachmaninoff's Vocalise, and was nominated for two Grammy® Awards. The New York Times noted: "Eroica's musicians have the muscle to be purely dramatic and emotional, but here they stand out for subtler reasons: all three players are soloists who have a lot to say, and every note, no matter how light, has some significance." The Eroica Trio's critically acclaimed third recording, "Baroque" spent the first nine months after its release in the top 20 on Billboard's charts. "Baroque" includes works by Bach, Vivaldi and the Eroica Trio's own arrangement of Albinoni's Adagio. The ensemble's next album, "Pasión" features Argentinean, Brazilian and Spanish composers, including Piazzolla, Villa-Lobos and Turina. The Trio's fifth album for EMI Classics Records, "Brahms Trios Nos. 1 & 2" was released to great critical acclaim “This is a hugely stirring recording, full of strength and soul. It’s very romantic very lush but well within bounds (that is, Brahmsian bounds). Over the past several weeks, I have found it hard to stop listening to this CD.” (The National Review). This disc features the composer's lullaby arranged for piano trio by Sara Sant'Ambrogio. The Trio's sixth recording for EMI, "Beethoven's Triple Concerto Op. 56 and Piano Trio Op. 11" was recorded with the Prague Chamber Orchestra. The release came just prior to a four-week coast-to-coast tour of the United States with that celebrated ensemble. The Trio’s most recent album, An American Journey, was acclaimed by NPR “One of the Best CD’s of 2008”. It features new arrangements of music from Gershwin's "Porgy and Bess" and Bernstein's "West Side Story" commissioned by the Eroica. Also on the CD is Mark O'Connor’s "Poets and Prophets", written for Eroica and inspired by the music of Johnny Cash.
In addition to its demanding concert and recording schedule, the Eroica Trio is committed to music education, giving concerts, master classes and special children's shows at schools and colleges throughout the country. The trio feels so strongly about the benefits of music that they have performed at homeless shelters, senior centers and prisons to bring the music to people who might not normally have the chance to hear live performances. Each summer, the Trio performs at music festivals throughout the world, including the Hollywood Bowl, Aspen, Mostly Mozart, Ravinia, and Spoleto, Italy.
The Eroica Trio has appeared on numerous television programs, including ABC's The View, CNN's Showbiz Today, CBS and ABC News, the CBS Morning Show and Saturday Morning, A&E's Breakfast with the Arts, The Isaac Mizrahi Show, Pure Oxygen, Bloomberg TV and Fox's The Crier Report. In addition, the ladies will be featured in the international broadcast of The Artists' Way At Work, an in-depth exploration of artistic creativity. Eroica!, a special documentary about the Trio and its commissioning of a new triple concerto by Kevin Kaska, premiered on the PBS series Independent Lens and has had multiple airings worldwide.
The group has been featured in such magazines as Elle, Glamour, Vanity Fair, Detour, Marie Claire, Gotham, Entrée, Bon Appétit, Time Out New York, Gramophone, Piano, Vivace, Auditorium, and Chamber Music. In addition, the ladies have graced the covers of magazines as diverse as Fanfare, Cigar, Strings, Tall, and Strad. Grand Marnier® created a new cocktail dubbed "The Eroica" which was unveiled for the release of the "Pasión" recording. Chateau Sainte Michelle, a vineyard in Seattle, also named one of their vintage Rieslings in honor of the Trio. - See more at: http://www.pricerubin.com/classical/index.php?summarynumber=613#sthash.XoS80FDi.dpuf
KSO season opens with a flourish
Eroica Trio's performance memorable
The Knoxville Symphony Orchestra opened its 78th concert season Thursday night at the Tennessee Theatre with a suite and two overtures from largely ignored operas and an infrequently played concerto that was dismissed in its day as merely a French interlude interrupting more important compositions.
Despite the obscure nature of the music, it was a generally well-played performance of music that has established concert-hall independence and high audience satisfaction levels, demonstrated Thursday night by its enthusiastic reception.
The "interlude" was Beethoven's "Concerto in C Major for Violin, Cello, Piano and Orchestra," Op. 56, written in 1804 during a period in which some of his greatest music was written. The internationally renowned Eroica Trio made their performance of the "Triple Concerto" with the KSO memorable.
With cellist Sara Sant'Ambrogio often playing the lead voice, handing off ideas to violinist Sara Parkins and pianist Erika Nickrenz, as well as the orchestra, the Eroica Trio more than satisfied the audience. The cello introduction to the lovely second movement was especially beautiful.
But it was the Eroica's encore performance of Astor Piazzolla's gorgeous "Oblivion, Tango for Chamber Ensemble," written in 1982, that stole everyone's heart.
Sant'Ambrogio's cello soulfully sang "Oblivion's" melancholy melody against an arpeggiated accompaniment almost as minimalist as a Philip Glass sound pattern.
—Knoxville News Sentinal 9/21/13
July 21, 2013 the Eroica Trio - Bates Concert Hall
José Trinidad: a tribute to a spiritual performance
Deep in the snow,
a child cries fallow
in unknown repentance
as to his final end:
In Takser, Qingai,
in shelter swaddled,
cries the new Lama
awaiting his pain.
St. Petersburg heralds
a prince Igor chemist,
out of some central Asian
Steppes humming quite low,
while deep in Jambi,
a mother gives birth
to a child never known.
I Nyoman Windha
delights with his subtle
Balinese Banjar Kurtri
melodies for the soul.
And many in the south
east ghetto of Austin
cry out in the darkness
and will never be known.
Yet loud from the vibrance
of Bates Hall in Austin
the Eroica Trio
proclaimed Bach's Chacone:
it's subtle tonalities,
the integration of chords,
the weaving of dancing themes
were obvious to all;
in an audience that panted
for the next cherished note
made aware to the listener
as the flawless performed.
What grandeur we experienced!
what ascension of soul,
from the cello and violin
to the piano holding taut;
at one moment all keystrokes,
all the strings' plaintiff chords,
reached the Altar of Heaven
every artist strives for:
that moment of harmony,
that eternal one Chord,
that timelessness of Heaven
heard at once from all strokes.
And so moves the program,
and the artists move the chords,
not aware that the eternal
had been gifted to all.
ARIZONA DAILY STAR
REVIEW OCTOBER 10, 2012
"...an exciting, intimate and just plain fun performance
of Beethoven’s Triple Concerto by the estimable Eroica Trio.
This is an ensemble that dares you not to sit at the edge of your seat when cellist Sara Sant’Ambrogio played an extended solo passage, flexing her toned biceps as she drew the bow over the strings with a
fluid, muscular motion. The sound was so rich and pure pianist Erika Nickrenz shot her a smile that spoke volumes of appreciation.
Throughout the performance, the trio shared intimate moments like this. Their smiles seemed on the verge of a giggle when violinist Sara Parkins, a newcomer to the trio, turned in an equally impressive solo turn; or when Nickrenz danced along the keyboard, adding a playful spirit to performance.
When they weren’t playing, the trio shared animated gestures of appreciation for the orchestra, which seemed to revel in its role as accompanist in its first performance of the concerto in a dozen years.
This was the first time the Eroica Trio has played a Tucson concert since they were presented by the Arizona Friends of Chamber Music in 1999. Hopefully we won’t have to wait as long for them to return."
"Eroica's musicians...have the muscle to be purely dramatic and emotional, but here, they stand out for subtler reasons: all three players are soloists who have a lot to say, and every note, no matter how light, has some significance. Indeed, no voice ever fades into the background; rather, the instruments not featured in a particular passage assume the active stance of intelligent listeners, making comments on the main statement or, in some cases, quietly but compellingly pursuing their own trains of thought."
—Anne Midgette, The New York Times
"Just as in their successful Carnegie Hall debut and smash-hit CD release, these women demonstrate that on musical merits they have earned their foothold on the very highest rung of the profession."
—The Wall Street Journal
"Brahms' music has rarely sounded as sweet...real music worthy of the Eroica Trio's considerable gifts... The Trio proved particularly adept at responding to the score's emotional range, bringing a combination of rhythmic vitality and melodic grace to the opening movement, and shaping the finale with particular dramatic urgency."
—Joshua Kosman, San Francisco Chronicle
"Forget the marketing hype, the Eroica Trio is the real thing... The thing that most impressed was the litheness of the group's ensemble... Each player in this group brings serious chops to the table, and the group has converted this currency to richer coin by assiduously studying one another's phrasing and tone."
—The Boston Globe
"It was the sizzle of the musical ensemble that seduced listeners at the Orange County Performing Arts Center."
—Susan Bliss, Los Angeles Times
"The Eroica Trio's EMI label debut features one of the best-ever recordings of Ravel's Piano Trio in a performance that shows off the group's wide range of color and expression."
"It's been decades since this country has produced a chamber music organization with this much passion... This is a group that feasts on artistic and technical challenges."
—The San Francisco Examiner
"They play chamber music for the concert hall. There is an edge of the seat intensity to every note they produce."
—The New York Times
"The passionate, brilliant program catapulted the audience from its seats not once but twice for Beethoven's Triple Concerto. The excitement and intensity of the first movement ended with such a grand flourish that the audience was on its feet applauding loudly immediately after the last note. Although caught by surprise, the musicians took this spontaneous breach of concert etiquette in stride... The musicians responded beautifully with elegant, balanced sound that ranged from extraordinary pianissimo to full, controlled fortissimo. Their playing was precise yet dynamically expressive, with stunning contrasts... The synergy within the Trio and between them and the orchestra was superb."
—Marilyn LaRocque, Las Vegas Sun
"The Eroica Trio gave a knockout concert at the Bovard Auditorium. These people have it all: technique, temperament, interpretive savvy, good looks and a winning stage presence."
—Herbert Glass, Los Angeles Times
"The Eroica's unbridled passion flows from all voices at some point, regardless of the piece. This group maximizes drama inherent to any piece, whether it rests in melody, tempo, rhythm, texture or harmony."—Whitney Smith, Indianapolis Star
"The Trio plays with technical flair, raw driven energy and high spirits."
—The Wall Street Journal
"In the Eroica's vivacious performance, the outer fast movements charged along with snappy pizzazz. The slow movement evoked New Age and jazz noodlings. The surfaces glittered... When the group paused to think more contemplatively...the interpretation became truly inspired. Those were memories to take home."
—Charles Ward, Houston Chronicle
"The three young women played with a love of life that made the sorrows and troubles of Sweden seem distant for a while."
—Svenska Dagblaget (Stockholm)
"The (ladies of the) Trio played as though they were caressing the music...the music sizzled."
"Even on a purely visual level, one notices a special harmony between them... The musical result is balanced and sophisticated."
-Frankfurter Allgemeine Zeitung (Germany)
"Everyone felt themselves transported to another world...the Trio's technical brilliance...was superb."
—Die Presse (Vienna)
"The real treat is being able to savor the glorious melodies of these baroque masters in such rich-toned splendor -- and the result is ear-opening."
—Andrew Farach-Colton, barnesandnoble.com
"The members of the Eroica Trio have a genuine passion for Brahms...a true love of the music as Brahms wrote it. Here they offer intelligent, well-thought-out performances, faithful to the score yet unafraid to interpret Brahms' intentions. This release is not just an excellent group of chamber musicians strutting their proverbial stuff, but a record designed to be a complete experience. The ensemble skillfully negotiates Brahms' turn-on-a-dime writing in a marvelously organic fashion; as with the best performances, they make it seem effortless."
—Daniel Felsenfeld, Andante
"This is a hugely stirring recording, full of strength and soul. It's very romantic -- very lush -- but well within bounds (that is, Brahmsian bounds). Over the past several weeks, I have found it hard to stop listing to this CD."
—Jay Nordlinger, National Review
"Eroica brings a joyous piano trio sound."
—Ken Keuffel, The Arizona Daily Star
"The Eroicas are fiery, sexy and very polished when they are playing Astor Piazzolla... On their Baroque CD, the playing is polished, the tone is rich... Their Shostakovich is real Russian vodka: it's bitter, ironic and wild... The Dvorak Trio is a delightful piece, full of dance rhythms, melody and unexpected changes."
—Ron Biss, Sunday Star Times (New Zealand)
"It's one thing to talk in general about performers who operate on the same wave length, and quite another to witness a virtuosic display of musical unanimity on the level of Saturday night's superb recital by the Eroica Trio...what proved most striking about the evening was how seamlessly the three performers merged their distinct contributions into a single ensemble voice."
—Joshua Kosman, San Francisco Chronicle
"In the case of the frankly lovely, frankly female Eroica Trio, musical priorities are conspicuously high. The ladies brought power, grace and conversational ease to the joyful bombast of Beethoven's Triple Concerto."
—Josef Woodard, Santa Barbara News-Press
"The Trio's brilliance leaves you in awe. The playing of this wonderful trio was so beautiful, so perfectly luminous, seeming to emerge from one soul: it deserved -- demanded -- almost religious awe. With refinement, passion, technical brilliance, precision and wonderful unanimity of spirit, this group exists in very rarefied company; these players have learned to breath the same air, to carry on phrases from each other with perfect accord in tone and dynamics...with infinite variety and luminosity."
—Lindis Taylor, Dominion Post (New Zealand)
"The Eroica musicians form one of the most exciting groups on the classical stage... It is rare to see and hear musical intuition so tight. The audience demanded an encore."
—John Sutherland, The Seattle Times
"The Eroica Trio gave a stunning performance all around, but its delivery of the Shostakovich Trio No. 2 in E Minor, Op. 67 was outstanding... The fact that the Eroica Trio included this (repertoire) in the program shows that not only do the musicians display a depth of musical maturity but that they also understand the power music has on people."
—Christine Huggins, The Dartmouth
"This is a group which feasts on artistic and technical challenges... The Eroica brought wondrous empathy and discretion to the task, calibrating dynamics with heart-stopping mastery."
—Allan Ulrich, San Francisco Examiner
"So locked in are they to the musical moment that at times they sound like one instrument making a single, ethereal sound. There were moments in the Beethoven piece when the two string players applied such incredibly light touches that the music almost seemed to resonate directly from the early 1800s, when Beethoven wrote the piece, rather than from their instruments."
—Jim Lundstrum, The Post-Crescent
"This was a perfect concert... The Eroica Trio performed with incredible intensity and energy, one-ness in its music, a supple litheness in its tone, and an equality of voice. Each musician is an internationally recognized soloist in her own right, and this made for an extraordinary group dynamic. No one was subservient. No one was dominating. They each gave a fullness of dramatic expression to the music. The audience was ecstatic in its foot-stomping applause...The (ladies of the) Eroica Trio will always be my heroines."
-Margaret Hennington, The Guardian (Australia)
"The Eroica musicians seemed to slip into their own world, accompanying each other lyrically and, it seemed, effortlessly."
—Mary Kunz, Buffalo News
"The Eroica is one of the finest and most dynamic piano trios today... This performance was another remarkable example of the group's flawless ensemble playing and impeccable artistry. Its interpretation was sincere and thoughtful, impassioned and full of life."
-Edward Reichel, Deseret News
"This was a magnificent performance! It was a delight to see the rapport among the players. Their music breathed a deep understanding of each other and the many different relationships that exist among them in the music. This was an exciting and very memorable concert. I, for one, was only too pleased to be in the audience."
—Stephen Fisher, Evening Standard (New Zealand)
"Here's one of those wonderful CDs that you will love the first time you listen to it. Guaranteed. All six selections are truly enjoyable, the Trio's fresh intensity shining out of every note and phrase." —John Farnworth, The Register-Guard
"The Eroica Trio attracts new listeners to classical music. The musicians have much to offer listeners of all stripes."
—Mark Kanny, Pittsburgh Tribune-Review
"The Trio performed the work with impeccable musicianship, flawless technique and irresistible enthusiasm."
—Robert Fuller, Des Moines Register
"Nothing short of spectacular, nothing short of marvelous...the most exciting musicians on the classical scene today... To be part of the performance -- either as a member of the orchestra or the audience -- was extraordinary. To experience the composer's genius interpreted with such passion was a rare treat."
—Jack Zaleski, The Forum
"The Eroica Trio was an inspired ensemble that received a well-earned standing ovation at the conclusion of the concert."
—Marshall Turkin, The Palm Beach Post
"What proved most striking about the evening was how seamlessly the three performers merged their distinct contributions into a single ensemble voice... The Eroica's playing is marked, first of all, by exquisite beauty of tone, a rich blend of sonorities that gives even the most vigorous music a rounded edge. The group is unafraid of overt displays of feeling, whether ferocious or lyrical."
—Joshua Kosman, San Francisco Chronicle
"What poured forth from the Jemison Concert Hall stage was beyond reproach. Three monumental works were presented by the reigning mavens of piano trio music...the ensemble delivered a balanced, meticulously controlled performance. In Beethoven's Trio in B-flat, Op. 11, every nuance exuded warmth. Melodies ebbed and flowed among the three players...with purpose and definition."
—Michael Huebner, The Birmingham News
"The Trio's performance goes straight to the heart of the strings. The audience was treated to a display of dazzling musicianship. The entire performance was characterized by its technical excellence, artistry and energy. It is hoped that the Eroica Trio will return soon."
—Jenny Burchell, The Tribune (New Zealand)
"The Eroica Trio lighted up the new Clark Music Center with its remarkable combination of uncanny technical precision, vibrant artistic interpretation, and an electrifying and exhilarating performance."
—Nede Naque, The Laurence
"The Eroica's artistry is powerful enough that it could play the back of a cereal box and make it compelling."
"Continuous dynamic flexibility is a hallmark of the group, but they the musicians live for the big moments."
—Los Angeles Times
"They looked like supermodels and played like demons on crack... Rarely does one hear such a combination of sheer physicality, gripping intensity and idiomatic versatility as this threesome served up." —The Tucson Citizen
"The Trio brought its dark, rich sound and propulsive rhythmic energy to a crowd ready to cheer..."
—The Star-Ledger (New Jersey)
"The women of the Eroica Trio play nothing halfway. Hair flying, bodies heaving, bows shedding hairs left and right...the Eroica achieved gestures of orchestral power and sweep."
—The Washington Post
"Each musician possesses a superbly fluid technique... Their technical freedom is of the kind that makes the difficult seem easy and their seamless ensemble a matter of course."
—The Albuquerque Journal
"These people have it all: technique, temperament, interpretive savvy, good looks and a winning stage presence."
—Los Angeles Times
"(The Eroica Trio) plays with refinement, passion, spontaneity, imagination and the fullest grasp of stylistic nuances."
"The Eroica took the listener on a sensitively guided odyssey that grew on you bit by bit."
—The Arizona Daily Star
"Eroica Trio is the real thing...It is, thankfully, exactly what a chamber music ensemble should be -- (composed of) thoughtful, intelligent, rigorously trained musicians in love with the art of music and the artfulness of performance... The Trio performs spectacularly."
—Michael Manning, The Boston Globe
"Eroica brings the audience to its feet. Following an extended standing ovation, the Eroica Trio performed a beautiful, sensual encore that had the standing-room-only crowd applauding enthusiastically again. Indeed, if the Trio had decided to play all night, the audience would have stayed."
—Jack Zaleski, The Forum