Anna Da Silva Chen is widely recognised as one of Australia's leading young violinists, enjoying an international career as a soloist and chamber musician. She has appeared with the Sydney, Adelaide, Tasmanian, Canberra, Willoughby and Metropolitan symphony orchestras as well as several regional and youth orchestras across Australia, performing concertos by Beethoven, Brahms, Elgar, Mendelssohn, Saint-Saëns, Sibelius, Shostakovich, Tchaikovsky and Wieniawski. In 2020 she made her German solo debut with the Göttingen Symphony Orchestra at the invitation of Nicholas Milton AM, and in 2019 toured Spain with the SCM Wind Symphony Orchestra, culminating in a performance at the renowned Palau de la Música Catalana in Barcelona. She is a regular featured artist at the Canberra International Music Festival and is engaged to perform at the 2022 Orlando Festival in the Netherlands. In Australia, Anna performs dedicatedly as soloist, director and concertmaster of Ensemble Apex.


"Her powerhouse performance was fresh and commanding in nature. Da Silva Chen is constantly developing as an athletic and thoughtful virtuoso. ...Here, a beautiful pursuance of line and intricate collaboration with the orchestra made for some fine moments."

- Sydney Arts Guide (Sibelius Concerto)

"At the heart of this program, however, was a stunning performance by Da Silva Chen and Leske of Dmitri Shostakovich’s Violin Sonata, written in 1968 for Russian virtuoso David Oistrakh. With a dark, smouldering sound, Da Silva Chen maintained a compelling intensity throughout the first movement. ... [She] brought a barnstorming ferocity to the second, Leske unleashing whirlwind piano figures. The drawn-out desolation of the finale – against the grim white-out of the Utzon Room windows – brought the piece to a shivering end."

- Limelight Magazine 

The highlight of the concert was the Tchaikovsky Violin Concerto played by violinist Anna Da Silva Chen. The liquid romantic tone poured from her instrument as if it was no trouble at all. ... The fiendishly difficult rapid passages had youthful exuberance and brilliant tone, and slower passages were richly dark and sonorous. Her masterful control of dynamics, articulation and phrasing were sympathetically supported by the orchestra."