“…Estonia can be happy that Berlin approves. Which it also did, equally deservedly, a perfect “espresso-konzert” at two pm in the Konzerthaus’s state-of-the-art Werner-Otto-Saal. Co-leader of the Estonian National Symphony Orchestra and a vibrant presence in Paavo Järvi’s Estonian Festival Orchestra, Triin Ruubel is up there among the top violin soloists, and her twin sister Kärt is also forging a career as a pianist. They chose an all-Estonian programme ranging from salon charmers by Heino Eller as well as an unusual bonne bouche by that otherwise deeply serious symphonist Lepo Sumera – familiar in its orchestral guise as a favourite encore of Paavo Järvi in Pärnu – to three more substantial works.
Tubin’s flamboyant Capriccio brought Kärt Ruubel’s virtuosity to the fore – dazzling partnership here – and Pärt’s somehow always deeply moving and meditative Spiegel im Spiegel tested her crystalline evenness and Triin’s long line to limits that relied on intense concentration from the audience. It was fascinating, too, to hear Conversio from Pärt’s very different junior by 24 years Erkki-Sven Tüür: a minimalist mechanism that breaks down across the compellingly-sustained span at which Tüür excels.
Triin Ruubel’s line and ardour should have been matched by Latvian star violinist Baiba Skride in Berg’s Violin Concerto at Nelsons’ Leipzig inaugural concert two evenings later…”
"…The ultimate elevation came from Hunt, Ruubel, Emma Yoon, Nathan Braude and Anichenko in Brahms’s Clarinet Quintet. The infinitely free but still focused interpretation proved that there is no end to the painful depths in this masterpiece; I’ll be steering clear of other lives performances for the foreseeable future…"
“…The following evening, Triin contributed to the unearthliness of a real underrated near-masterpiece, Eduard Oja's Piano Quintet, which Leonskaja had also undertaken to learn and more or less conducted from the piano: stunning, unforgettable…”
"...La jeune violoniste estonienne (née en 1988) Triin Ruubel interprète ce « grand souvenir » avec expression de nostalgie, à travers des chants larges. La largesse est l'une des qualités de Ruubel, perceptible dans les mélodies de Mendelssohn qu'elle conçoit à travers des phrasés amples. La richesse de ses expériences scéniques est immédiatement reconnaissable dès qu'il y a des passages délicats pour l'orchestre..."