"Pale, blue-eyed and flaxed-haired, a 110% team player, quietly yet charismatically reigning over the field, placing the music first, she gave the kind of fearless performance you’d expect: projected and poetic, caressing her instrument..."
"Triin Ruubel, die junge Geigerin, die derzeit mit dem Konzertmeister Florian Donderer am ersten Pult im Orchester sitzt, ist so eine Hochbegabung: Sie verfügt über Schwung, einen glänzenden Ton, Reaktsionsschnelle, charismatische Austrahlung"
Frankfurter Allgemeine Zeitung 21. juuli 2020
‘The playing from all concerned has the electricity of a live performance, and if some of the dashes in the finale may seem startling, they’re justified within the whole, and by the last sprint to glorious self-assertion.’
"Triin Ruubel' s performance here is ecstatically lyrical and consistently moving. Her interactions with the evershifting orchestral carpeting so deftly and poetically provided by Maestro Järvi and the Estonian National Symphony Orchestra is something very special, subtle yet impassioned, extraordinarily well-paced and endlessly fascinating to experience."
"...We all have our different favourites when it comes to a major work like Elgar's Violin Concerto, and in a crowded market this new disc has the virtue of making us listen again. The elegance, the sense of line and the fine grain to Ruubel's violin playing are allied to a fine technique and a sympathy to the ebb and flow of complex emotion in this work, and in this she is finely supported by Neeme Järvi and the orchestra. "
"...Cutting an impression of a pre-Raphaelite Norse maiden, Triin Ruubel, concertmaster of the Estonian National Symphony Orchestra and co-leader of the EFO, gave an outstanding account. Popular in Pärnu, she’s the sort of supportive player you want to have, sure of her place in the score, technically commanding, making music, the imparting of experience and knowledge, at the heart of her priorities, always ready to listen. Her dedication couldn’t be faulted..."
“…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..."