Press

"Grace, flawless technique, and a thrilling energy--Nicole Riner is the whole package." --Seattle Weekly

"Exuberant playing that made the concert go by in a flash. At the end I wanted more, more, MORE!"--Rapid City Journal

"Riner's sound is luscious and full, like Paula Robison's or Marina Piccinini's. She is clearly undaunted by the challenge of recording a thoroughly demanding program. I especially relish the playing in the final movement of the Feld Sonata. This recording is a gem."--American Record Guide

"She made contemporary music accessible, and even fun!" -- Casper Star-Tribune

"...an exquisite display of colors available on the flute...exemplary performances" -- David DeBoor Canfield, Fanfare Magazine

"Thank you for what you are doing for my music!" -- composer Dave Deason

"Beautiful and inspiring playing, Nicole. It was an honor to have you premiere my Rhapsody."--composer Richard Faith

"I loved your performance and was gratified by the audience response. I am so fortunate to have enjoyed a premiere at your incredibly capable musical hands."--composer Randall Shinn

Full Reviews

Read the Fall 2011 review of Eastern Gems from Flutist Quarterly here.

Read the April 2013 review of Chamber Music of Jennifer Higdon from Audiophile here.

Read the November 2017 review of A Flutist's Expression Workbook from The Flute View here.

Interviews

November 2016 interview with the UWYO flutes studio: The Flute View

Summer 2021: The Flute Examiner

Interview with Justine Estes, Black Hills Chamber Music Society Newsletter:

JE: What or who was the most important influence in you decision to study music? Why?

NR: Most of my family members played instruments as a hobby, and we always had a diverse collection of music playing in the house when I grew up. So, I never imagined not playing an instrument--for me, it was only a question of which one. When I got to college, I thought it was impractical to major in music and so I didn't, at first. I was majoring in Russian and Eastern European languages and wanted to be an interpreter, but I found the coursework boring and kind of easy. I was taking flute lessons on the side with the amazing Jan Boland, and she suggested I try a theory class for fun. I loved it. I think what brought me back to music permanently was the fact that it is so challenging, and there is always a new level to conquer. I will be learning how to be a better musician for the rest of my life, and I love that.

JE: When choosing repertoire, what is it about a piece of music that inspires you to want to perform it?

NR: Well, this is kind of a problem for me, actually! I sometimes find music boring to listen to, but when I'm playing it on my flute, I am never bored, so I will play anything! I particularly like surprising harmonies, a beautiful melody, and a lot of athleticism (covering all ranges and demanding a high level of technique). Because I like to play everything, I sometimes worry that I am not choosing interesting pieces because I don't have the perspective of an audience member, so I often play things for friends and family and ask them if they like it before programming it.