‘Among 20^th century violin concertos, Benjamin Britten´s can perhaps be judged the most secretive of all. Some of the greatest virtuosos, like Heifetz, avoided performing it. Not Zanta Hofmeyr.

Where she tread on its indescribable musical sphere, angels were fearlessly with her all the way. Astounding expressive power, warmth, inner depth and confidence are her hallmarks.

She might not always be on top of all the daunting demands the demonic fire of the Scherzo asks for, but she performed it with complete authority. Such interpretations, and not the flashy ones, stick in one´s memory in a work making no concessions to the convention of a concerto as a showpiece.

Ms Hofmeyr´s left hand pizzicatos while bowing simultaneously were dauntingly expressive, her double stop flageolet tones mesmerising and her playing of the extended cadenza haunting.

In the core of the work, the finale’s Passacaglia in which the composer´s realisation of his maturing creative power is reaching a pinnacle, the soloist expressed the full range of unusual sonorities which come into play.

Especially on the Thursday performance the inner world of the concerto´s expressive range was strongly communicated by both the soloist and orchestra. Here the JPO and Gueller elevated their accompanying standards to become a highly refined integral part in fully realising an undervalued 20th century work with strong spiritual values’ - The Jewish Report, 12-19 June 2009