All just my personal opinion
Listening diary post, covering recordings of recorder concerti by Antonio Vivaldi (including some related concerti for violin), played by Maurice Steger / Diego Fasolis / I Barocchisti (2 CDs, 2000 & 2014), Conrad Steinmann / Helmut Müller-Brühl / Cappella Clementina (1978), and by Giuliano Carmignola (violin) / Sonatori de la Gioiosa Marca (1999) — 18 different concerti total, including 2 versions of “La Notte”, and 2 versions of “Il gardellino”.
Review of a concert at the Zurich Tonhalle, on 2015-04-21, with Julia Fischer, Oliver Schnyder, and the Academy of St.Martin-in-the-Fields, featuring Joseph Haydn’s Violin Concerto in G, Felix Mendelssohn Bartholdy’s Double Concerto for Violin and Piano in d, and Arnold Schönberg’s “Verklärte Nacht” (Transfigured Night) op.4 — a very enjoyable concert experience, indeed!
… Right from the beginning of the first movement (Allegro vivace) one could sense and enjoy Norrington’s very detailed dynamics, the clear contrasts, very careful phrasing and articulation, down to individual ornaments — and the joyful playing in general. (…) It was a fascinating concert experience, and a strong, very convincing, compelling interpretation, both on the part of the conductor as well as the orchestra!
Mozart: Violin Concerto No.5 in A, K.219 — comparing two non-HIP recordings with the following artists: Pinchas Zukerman / Saint Paul Chamber Orchestra (1982), Vadim Repin / Yehuhi Menuhin / Wiener Kammerorchester (1998)
With the entrance of the solo violin, though, the attention turned towards Sophia Jaffé, who presented herself as an experienced, expressive violinist, with a sonorous, full tone, delivering a solid, convincing interpretation.
… it was fascinating to observe how the violin remained audible, kept a clear presence even through minimal, light movements of the bow (…)
In the subsequent Larghetto, the soloist enchanted the audience with the most intimate, whispering tones, played almost sul ponticello, with minute, discreet movements of the bow, merely a hint, but always present, down to the softest ppp and below — one could almost sense the audience holding breath, totally captured by this playing.