The New York Times characterized her playing as producing "both fireworks and a singing tone," the Washington Post praised the "finely honed bowing and stylistic finesse" of her playing, and Strings Magazine described her tone as "gorgeous, intense, and variable, flawlessly pure and beautiful in every register."
At the latest since winning the first prize at the renowned International Violin Competition of Indianapolis, Iceland-native Judith Ingolfsson celebrated the final breakthrough as an internationally sought-after soloist and has performed in many of the world's most famous venues, including, for example, the Konzerthaus Berlin, the Tokyo Opera City, the Kennedy Center in Washington D.C., and New York's Carnegie Hall.
She has appeared with the Philadelphia Orchestra, the National Symphony Orchestra, the Indianapolis Symphony Orchestra, the St. Louis Symphony Orchestra, the Royal Chamber Orchestra of Tokyo, the Budapest Philharmonic Orchestra, the Jena Philharmonic, the Philharmonischen Staatsorchester Mainz, the Bollington Festival Orchestra (UK), and the Brandenburgisches Staatsorchester Frankfurt (Oder). She had collaborated with conductors such as Wolfgang Sawallisch, Raymond Leppard, Gilbert Varga, Jesús López-Cobos, Rico Saccani, Gerard Schwarz, and Leonard Slatkin.
Her concerts have taken her through almost the entire USA and to many other countries, including Germany, the Czech Republic, Russia, Japan, Hungary, Iceland, Puerto Rico, Panama, and Macau.
She began to play violin at the age of three, and gave her debut as a soloist with orchestra in Germany already at the age of eight. She moved to the USA and then in her early teens to Philadelphia in order to study with the legendary Jascha Brodsky at the Curtis Institute of Music. She subsequently studied at the Cleveland Institute of Music in the classes of David Cerone and Donald Weilerstein.
Not only did she win a gold medal at the Indianapolis Competition, but she was also a prizewinner at the Premio Paganini Competition in Genoa and at the Concert Artists Guild Competition in New York. In 1999 she was honored by National Public Radio as Debut Artist of the Year, and in 2001 received the Chamber Music America/WQXR Record Award for her debut CD with works by Bloch, Rorem, Bach, and Wieniawski.
Judith Ingolfsson's discography meanwhile includes four further CDs: Tchaikovsky's Violin Concerto (BPO LIVE, 2008), "Simon Laks en hommage" (EDA, 2010), the Six Solo Sonatas by Eugène Ysaÿe (GENUIN, 2011), and works by Stravinsky and Shostakovich with pianist Vladimir Stoupel (AUDITE, 2011).
Also a welcome guest at music festivals, Judith Ingolfsson has accepted invitations to festivals in the USA, Poland, Finland, Germany, Switzerland, France, and the Netherlands. In 2010 she was artist-in-residence in Villa Esche in Chemnitz. In 2009, together with Vladimir Stoupel, she founded her own festival "Aigues-Vives en Musiques" in the south of France.
Judith Ingolfsson is also an avid chamber musician and has collaborated with the Vogler, Avalon, and Miami String Quartets, the Broyhill Chamber Ensemble, and the Ronen Chamber Ensemble.
She performs regularly with pianist Vladimir Stoupel in the Ingolfsson-Stoupel Duo. The Duo devotes itself to unusual repertoire and dynamic duo programs that expand the form of the traditional violin-piano recital, and performs in the USA, Switzerland, Poland, Italy, France, and Germany, for example, at the Schleswig-Holstein Music Festival.
Ingolfsson has a special interest in less well-known twentieth-century composers such as Simon Laks and Haflidi Hallgrimsson, or the Swedish composers Amanda Maier and Laura Netzel. With the Jena Philharmonic and the Staatsorchester Mainz, she recently performed the Violin Concertos by Rautavaara and Roslawez. Baroque compositions, such as the works for solo violin by Telemann and Tartini, she plays on the modern violin while taking into consideration historical performance practice.
Judith Ingolfsson's intensive occupation with the texts of the compositions has repeatedly led to collaborations with music publishers. Thus she has also been active as an editor, for example, of the Trois Pieces de Concert by Simon Laks, which has appeared in her arrangement for violin and piano.
In the 2013/2014 season, Judith Ingolfsson is looking forward to several appearances with the Brandenburgisches Staatsorchester Frankfurt with whom she will interpret violin concertos by Khachaturian and Paganini. She will also be heard in violin recitals in the Konzerthaus Berlin as well as in Stuttgart, Chemnitz, and other German cities. In addition she is to give concerts in France and Croatia, and will tour the USA in March 2014.
Since 2008, Judith Ingolfsson has been Professor at the Stuttgart Hochschule für Musik und darstellende Kunst. She plays a violin by Lorenzo Guadagnini from 1750.
Die isländische Geigerin Judith Ingolfsson und der aus Russland stammende Pianist Vladimir Stoupel haben sich in den letzten Jahren intensiv mit Komponisten beschäftigt, die unter dem Ersten Weltkrieg leiden mussten. Man spürt in ihrem Spiel die große Identifikation, ja die Begeisterung für diese zu Unrecht vergessene Musik, mit der das Duo im Klavierquintett auch die Streicherkollegen Rebecca Li, Stefan Fehlandt und Stephan Forck angesteckt haben. Die CD mit den beiden kammermusikalischen Meisterwerken von Louis Vierne bildet den Auftakt zu einer kleinen Serie. Und so sensibel und leidenschaftlich, wie Ingolfsson und Stoupel auf dieser Aufnahme spielen, darf man sich schon jetzt auf die beiden folgenden CDs mit Musik von Albéric Magnard, Rudi Stephan und Gabriel Fauré freuen. Ein tolles Projekt."
These two composers are joined by tragic deaths on opposite sides of the First World War. Stephan, a Munich avant-gardist, was the only soldier in his German unit to die in a September 1915 battle with Russian troops for the Galician town of Stryi. Magnard, a French traditionalist, was either shot or burned to death defending his home from German troops in September 1914.
Only 28 at the time of his death, Stephan was little known outside German new music circles and not well liked within them. A young man of strong opinions and no tolerance for sycophancy, he had to pay for his performances and drew little encouragement from the few reviews. On the evidence of his Groteske for violin and piano, written in 1911, he was familiar with the frontier sounds of his times – Berg, Debussy, possibly Bartók – but the voice is entirely his own and the voice never less than urgent. There is every reason to believe he would have flowered into a major talent.
Magnard, more than 20 years older, was in mid-career, nearing 50, with four respectable symphonies in the bag – conservative works reminiscent more of Schumann and Brahms than of his French contemporaries and steeped in romantic naturalism. His 1901 sonata for violin and piano is charming and civilised with two deliciously languorous slow movements. This was not a man who set out to change, or challenge, the world. Many of his scores were consumed in the conflagration of his death.
Judith Ingolfsson and Vladimir Stoupel bring the tragic pair vividly to life in the transparent acoustic of Berlin's Jesus-Christus-Kirche. There's an irresistible lyricism to Ingolfsson's violin lines and no concession to sentimentality. These are lovely accounts of two rare works that you'll really want to hear."
Ein Duo der meisterlichen Feinabstimmung
[...] Mit schlafwandlerischer Sicherheit bewegten sich die Musiker durch das anspruchsvolle Programm und bestachen mit exzellenter Spieltechnik, hervorragender Abstimmung und einem ausgezeichneten Gefühl für die feinen Details der Musik. [...] tosender Applaus und Bravi.