Inmost ★★★★ „Mér fannst ég kenna áhrif jarðhrær­inga í hljóðheimi Veronique Vöku sem ein­mitt hef­ur lagt sig eft­ir að skrá og um­rita breyt­ing­ar sem verða í ís­lenskri nátt­úru. Þannig myndaði verkið lang­ar lín­ur og var býsna seig­fljót­andi, rétt eins og hraun.“
- Magnús Lyngdal Magnússon, Morgunblaðið

“Not only is she a unique voice and inspired composer, Veronique maintains an openness and a receptivity to ideas that makes her a joy to work with. Implicit in her music is the idea that the performer is a true collaborator, meaning there is freedom written into the music for the performer to breathe life into the music from their own perspective and inspiration.”
- Sæunn Þorsteinsdóttir, cellist. Beyond the ink

“Thorsteinsdóttir performed the brief second piece of Vaka’s work for solo cello, Neige éternelle. Primed by the Crumb, the audience was instantly silent and attentive as Thorsteinsdóttir created eerie, intriguing sounds that captured the bleakness and terror of a brief but intense and icy snow squall.”
- Rick Perdian, Classical Voice North America

“… Lendh, an extraordinary canvas with an umbilical connection to the landscape of the place. […] emerging into a luminous, subtle, carefully formed and exquisitely detailed piece that floats as one ever-transforming entity, pulsating with micro-pressures and glistening details, unfolding organically with spectral-level colour-matching. Pedal notes on lur-like brass are pulled gently and microtonally out of line - the world seen at its most precarious and extreme. Lendh is a marvel.”
- Andrew Mellor, Gramophone Editor’s Choice

“… a striking feature is its interplay of vagueness and clarity. This tends to work in tandem with a back-and-forth between stillness and motion, with individual elements protruding through the surface of busy, often tremulous textures. Earlier on they’re just isolated pitches; later we can detect the possibility of a melody in there somewhere (its half-imagined presence tantalisingly embellished by the harp). This is part of an overall elusiveness in Lendh that i think is one of its most beautiful and beguiling features. The music often feels as if it’s reaching out, even opening up, yet remaining enigmatic, half in shadow.”
- Simon Cummings, 5:4 

“Lendh, by Veroníque Vaka, deploys the expansive range of a symphony to elucidate her sonic portrait of a geothermal region of Krýsuvík, drifting between serenity and tension.”
-Peter Margasak, Best of Bandcamp Contemporary Classical, Feb. 2021

“Lendh is complex and riveting.” - Richard Hanlon, MusicWeb International

“Levykokonaisuuden hienous paljastuu, kun Bjarnasonin dynaamisesta konsertosta liu'utaan Veronique Vakan täyteläiseen sointikellutteluun nimeltä Lendh. Taiturillisen plastisesti kokoonpantu kappale tasapainottaa laveaa kehittymistään ihastuttavan kirpeillä yksityiskohdilla. Toivottavasti kappale löytää tiensä sulostuttamaan myös Suomen orkesterien ohjelmia.”
- Kare Eskola, Klassinen, yle

“Iceland’s landscape takes centre stage in Lendh (2019) […] Transcribing into sound the topography of a geothermal region near Reykjavik, the orchestra feels embedded in the environment: solid yet lithe, dark yet light and peppered with eruptions that subside as quickly as they appear.”
- Steph Power, Classical Music, BBC Music Magazine

“Premiered in 2019, Veronique Vaka's Lendh is interesting for showing how effectively this Canadian composer and cellist, who settled in southern Iceland after completing her master's degree in Reykjavik, has adapted to her new surroundings—or perhaps she simply discovered that her sensibilities aligned so perfectly with the country that it left her no other choice than to remain there. Regardless, her rendering of Krýsuvík, a geothermal area outside the capital, into poetic sonic form convincingly evokes the land's rugged terrain, so much so one would assume the piece was created by someone who'd breathed its air for decades.”
- Textura

“Elements of light and darkness are balanced beautifully, though, with the strings coming through like rays of light breaking the clouds over an abandoned battlefield as the brass groans from beneath the torn earth.”
- Phil Freeman, Rence

“Veronique Vaka’s “Lendh” (2019) operates on a geologic scale, with tectonic bass textures and a slowly changing shape”
-Joshua Barone, The New York Times

"The land is wide, and dangerous, and ominous, but also stark and lovely. One cannot make it through unscathed; if the body is intact, the heart has still been changed." [Lendh]
- Richard Allen, A Closer Listen

“Verk eftir Veronique Vöku var líka áhrifamikið. Yrkisefni hennar var fjórði kaflinn í Sveitasinfóníu Beethovens, sem er lýsing á stormi. Tónlist Veronique var þó alls ekki óróleg, þvert á móti. Að sögn var hún að leita að kyrrðinni á milli vindkviðanna. Tónmálið var sérlega ómstrítt en smám saman öðlaðist það tærleika sem skapaði stemningu friðar og helgi. Það var magnað.” [Blaen]
- Jónas Sen

“Her collection of works shows increasingly innovative means of translating nature into musical forms with excellent craftsmanship and lyrical sense.”
- Nordic Council Music Prize

“Man kan næsten ikke undgå at høre det islandske landskab i den canadiskfødte komponiststuderende Veronique Vakas uroligskønne Lendh (2018), hvor klangflader driver stille rundt i orkestret og changerer mellem enkle og højtstablede harmonier, mens kraftig messing og slag på kontrabasserne giver dramatiske kontraster at holde fast i.”
- Sune Anderberg, Seismograf

“There’s both fragility and a sense of danger that appeal to me in this work [Lendh]. It feels like the soundtrack to a film that you see when you close your eyes. And in that film, there could be anything just around the corner.”
- DJ Bunuel, Nordic Culture Point

„Það er fal­leg­ur tónn í tónlist Veronique og höf­und­ar­ein­kenni sterk. Maður heyr­ir að þetta er hún, hvort held­ur í styttri poppaðri verk­um ( Er­lend­is ) eða íburðarmeiri. Næmt jafn­vægi ein­hvern veg­inn sem virk­ar og er smekk­legt. Hörðu kafl­arn­ir eru alltaf mátu­lega harðir og þeir fal­legu mátu­lega fal­leg­ir!“
- Arn­ar Eggert Thorodd­sen, Morgunblaðið

“… both the beauty of the piece as well as its beguiling harmonic language, broadly consonant yet constantly fluid and elusive". [Lendh]
- Simon Cummings, 5:4 

“Tónmál Veronique Vöku er myndrænt og persónulegt. ​Lendh​ sýnir ótvírætt hversu gott vald hún hefur á því að skrifa fyrir hljómsveit og útfærslan ber vott um hvorttveggja í senn: hugmyndaauðgi og natni.” [Lendh]
- Jury, Icelandic Music Awards

“ This shift in tone in the opening minutes is part of a larger mode of expression that’s one of the most striking and effective aspects of Lendh. Vaka explores and maintains a beautiful balance of tensions, gently – almost gingerly – arranging and pulling at her material to make it taut, even uncomfortable, yet almost before we’ve even noticed it’s happening, everything has begun to relax. This is one of the reasons the music comes to resemble the kind of muscular flexing I spoke of before; it undulates and ripples, inhales and exhales, slowly pulsating not simply in dynamic outline but also in terms of density, mass and clarity, the main factors at the heart of the work’s shifting stresses and pressures.” [Lendh]
- Simon Cummings, 5:4 

“Before I learned anything about this piece, I knew that I loved it. It grabbed me because it reminds me of so much of pieces of other music that I love: It’s got the warm embrace of early Sigur Ros, the hint of tragedy of some of Angelo Badalamenti’s music for Twin Peaks, a little bit of the watery mystery of Missy Mazzoli’s “Song from the Uproar,” and a shimmering depth that I can only assume is Vaka’s…”
– Second Inversion

“Erlendis is a soothing, string-drenched excursion, thick in mystery and melancholy.  As the violin and the twin cellos cast their nets into a sonic sea, the piano, clarinet, french horn and bass flute keep them afloat.  Boat hulls creak, waves crash, cod dart…”
- A Closer Listen

“…Vaka proves to be an imaginative composer and capable multi-instrumentalist supported by a variety of ensemble performers… “

“…It sounds as if it might be emulating the blooming of its namesake flower as a somber, heavily textured drone slowly gives way to shimmering, tender piano lines.  At this point the album is itself in full bloom and reaches skyward with the celestial choral voices featured in ‘Gætni’…”
- Stationary Travels