“Precise, shimmering…” - The New York Times
“Exquisite… Exceptional… Stunning…” - The Miami Herald
“Advertised as “Bernstein and Bartόk,” this banquet of music left me not just satisfied but impressed with the MSO, guest conductor Stefan Asbury, and violinist Tai Murray. In Vyšehrad (The High Castle) from Bedrich Smetana’s Má vlast, principal harpist Julia Coronelli played the opening solo with sensitivity and shape.”
The Shepherd Express | Milwaukee Symphony Orchestra | Stefan Asbury | Bradley Symphony Center, Milwaukee | June 2025
“Technical mastery emerged in what wasn’t there: The heavenly woodwinds were airborne without being breathy, and the guest principal harp, Julia Coronelli, conveyed beauty without pluck in the Strauss and in Glass’s “The Triumph of the Octagon.”
The New York Times | Chicago Symphony Orchestra on tour | Riccardo Muti | Carnegie Hall | October 2023
“The opening, with its whispered violin flutters and resonant lower strings, gave the illusion that the entire string section was being strummed like a giant harp. Meanwhile, the evening’s actual harpist, Julia Coronelli of the Milwaukee Symphony, elevated the performance with her delicate touch wherever she appeared, as she has in guest appearances over the past two seasons.”
The Chicago Tribune, Hannah Edgar | Chicago Symphony Orchestra | Riccardo Muti | Orchestra Hall, Chicago | September 2023
“Baird Dodge, the CSO’s fine principal second violin, seized on the manic string-crossings, power chords, and repetitive riffs of the former piece (a frisky reimagining of a solo classical violin as a rock-and-roll drum set) as brilliantly as his colleagues Jennifer Gunn, flute, and harpist Julia Coronelli traced the pastoral meditation that is the latter.”
Chicago Classical Review, John Von Rhein | Chicago Symphony Orchestra’s MusicNow | Orchestra Hall, Chicago | April 2023
"The harp is almost a second solo instrument in this score, and Julia Coronelli exquisitely dovetailed Bell's phrasing, the repeated glissandos well blended in the orchestral texture... It would be difficult to imagine a better performance of Bruch's violin confection.
The standing ovation and repeated curtain calls brought Bell back for the familiar Meditation from Massenet's opera Thais. In announcing the encore, Bell noted that he chose the piece to again spotlight Coronelli's exceptional harp playing. Bell's passionate conviction brought luster to this frequently played vignette."
The Miami Herald | New World Symphony | Teddy Abrams | Arsht Center, Miami | March 2015
“Nine new fellows including harpist Julia Coronelli debuted with a transparently stunning rendition of Debussy’s Sacred and Profane Dances. Perfectly blended opening octaves of the “Sacred Dance,” expert communication and exquisite string techniques from the small orchestra created a supportive background for Coronelli’s full-bodied, superbly voiced harp passages. The modal, wry waltz of the “Profane Dance,” interrupted by explosive bursts of harp arpeggios, framed the musicians’ skillfully traded counterpoint.”
The Miami Herald | New World Symphony | New World Center, Miami | October 2014