What does the dream classical music career look like? One example is that of cellist Deborah Pae.
The talent here is quite breathtaking. Deborah Pae in the Second [Saint-Saens Concerto]...gives any of the recordings already in the catalogue a good run for their money.
When wonderful music is wonderfully presented, with some genuinely innovative approaches to the works and methods of performing them, the pleasures of listening to recordings are doubled and redoubled. [Deborah Pae’s] superb tone, judicious and carefully chosen phrasing, and a high level of interpretative intelligence are the hallmarks...Listening to [her] performwith tremendous technical assurance and a maturity and understanding well beyond [her] years is a source of unceasing delight throughout this recording.
...the most poignant moment in Sunday’s program was cellist [Deborah] Pae’s entrance in the Adagio. It was sublime.
Pae’s resonant cello solos in both the Liang and Wilson works displayed a sophisticated technique...
Focused intensity and extraordinary musicianship.“Ms. Pae’s solo cello sang soulfully...”
Pae made searing drama out of Mumford’s dramatic solo lines, punctuated by pizzicatos and answered by snap pizzicati from the double bass.Tchaikovsky’s arrangement of a movement from his D-Major String Quartet...Here, she had the opportunity to show off her handsome and perfectly-centered pitch in a noble, almost Elgarian Andante cantabile. Among other delights, her lyrical treatment of a sequence of repeated notes was magical.
The performance of the Mozart viola quintet by Kim Kashkashian with Miriam Fried, Deborah Pae, Dimitri Murrath, and Lucy Chapman was unlike any with which I was familiar....In particular, the sublime humor of Mozart’s work was palpable in the initial Allegro di molto and concluding Finale: Allegretto, as the ensemble exchanged knowing glances in their vivid performances...the ensemble colored the work with a novel vitality.