If I had to categorise Chouchane Siranossian in similar terms, I would plump for angelic for the simple beauty of her playing, which belies the toughness of the music by being well-tuned and sweetly turned at every step, with a richly ear-pleasing sound and little sign of technical struggle. If the devil really does lurk among those Tartini trills, there doesn’t seem much chance of him knocking her o her stride. Her musicianship is likewise faultless, unconcerned with tricks and quirks but rather on letting her violin do the speaking. This is top-class Baroque violin-playing […]
Chouchane Siranossian plays on a Gagliano with a period set-up with terrific verve and unfailing good taste. […] Besides the evident intellectual curiosity of this French–Armenian violinist […] there’s much to admire in her rhythmic security and gently playful approach to the dance forms, especially in Rust’s Second Sonata, which is technically demanding and inventive in equal measure.
With incredible command over her bow, Chouchane Siranossian is a fine musician who expresses herself individually in spirited and warmly expressive performances.