A remarkable evening of music with ASMF and Bomsori Kim, where clarity, grace, and musical depth came together in perfect harmony.
On Monday afternoon, once again, I found myself in the historic home of the Academy of St Martin in the Fields. I’ve said it before, and I will say it again: this is my favourite orchestra. Reviewing their concerts never really feels like “reviewing” in the traditional sense. It’s more like telling another story from the ASMF universe, a new chapter featuring another remarkable guest. And let’s be honest: I already know I will be giving it five stars.
What I have always loved about ASMF is how effortlessly human they feel. There’s a certain humility in how they play: no grandstanding, no ego, just deep musical intelligence and generosity of spirit. It is the kind of brilliance that doesn’t shout but radiates. If I were to sum up how music should be shared in the 21st century, it would be this: world-class talent, with zero pretence.
Originally, the concert was to feature the wonderful Augustin Hadelich, but due to health issues, he had to withdraw. Wishing him a full recovery. Luckily, as violist Robert Smissen shared with us from the stage, the stars aligned: Bomsori Kim, violinist extraordinaire, happened to be on holiday in Paris and agreed to step in. He described the evening with a smile as “an ASMF sandwich,” but by the end of the night, I’m convinced we were all served a caviar tartine of the highest order.
What struck me most about Bomsori was not just her technical command – which is, without question, extraordinary – but how seamlessly she blended into the ASMF world. There was no showy guest soloist energy. Instead, there was mutual respect and attentiveness, a feeling that everyone on stage was breathing in sync. Yet, even in that collaborative spirit, she stood out with elegance. Her expressive phrasing and exquisite dynamic control meant you didn’t just hear the music. You felt it unfolding in real time.
Sitting near the front, I could hear the slight breath she drew in before each demanding passage. It reminded me of a diver surfacing, lungs filling before plunging again into the ocean depths. This was not just breathing to perform, but as a mark of total immersion. Her playing didn’t power the music; it seemed fuelled by something more elemental.
The programme opened with Mozart’s bright and elegant Divertimento in D Major, a perfect appetizer. Then came Mendelssohn’s Violin Concerto in D minor, where Bomsori’s touch struck a fine balance between romantic charm and classical clarity. Post-interval, her flair was on full display in Wieniawski’s Faust Fantasy, a work built for storytelling and theatrical sparkle, both of which she delivered with joy.
And then came Tchaikovsky’s Serenade for Strings, a piece that always feels like it could float into the rafters. The ASMF played it with warmth, precision, and a tenderness that held the audience rapt. When it ended, we didn’t want to let go. The applause was unrelenting. It was not just polite appreciation, but a genuine outpouring of joy.
If you are looking for proof that classical music still lives and breathes in the most vibrant, human way, this was it. We missed Augustin, of course, but Bomsori brought something truly unforgettable in his place. I’m already looking forward to returning on 26 June for the next ASMF performance, this time with viola soloist Timothy Ridout.