Performance reviews, critical acclaim, and features
PressWir fragen, Prominente antworten mit Musik! Heute erzählt die Geigerin Lisa Batiashvili, was sie an ihrer Heimat Georgien vermisst und wie sie ihren täglichen Spagat zwischen Kindern und Beruf meistert.
PlayerFM
She played it as if it were the most important piece in the world...
The Inquirer
Her wistful, cantabile tones never cloyed, while she attacked the cadenza with a thrilling, edge-of-the-seat sense of theatre...
The Arts Desk
Die Sonntagsserie: Unsere Reporter treffen Menschen, die etwas bewegen. Heute: Ein Spaziergang mit Violinistin Lisa Batiashvili.
Morgenpost
“… the concerto does make a fine showcase for Batiashvili’s fearless playing, which is so tonally rich and technically immaculate.”
The Guardian
Batiashvili’s unexpected magic came in another short Kancheli piece, V&V, ethereally building on the extraordinary recorded voice of Georgian popular singer Hamlet Gonashvili.
David Nice - The Arts Desk
"... the Georgian-born Lisa Batiashvili gave a muscular yet poetic account of Sibelius’s Violin Concerto (1903-4, revised 1905) (Prom 2), an ideal pairing with Elgar’s Symphony No 1, written at the same period: both questing works full of angst and melancholy."
Fiona Maddocks - The Guardian
Lisa Batiashvili, die ein Instrument von Guarneri spielt, gestaltete die Einleitung ungemein seelenvoll, und die technischen Schwierigkeit des folgenden Satzes inklusive der Kadenz mit beängstigender Präzision. Wie sie den Bogen führte, mit unglaublichen klanglichen Nuancen phrasierte, hatte Klasse.
Bernhard Hartmann, General-Anzeiger
Take the opener, Prokofiev’s Violin Concerto No.2. This piece can so easily be milked for its adrenaline-fuelled thrills. What we got here, however, was a surprisingly delicate performance, memorable above all for the icy whisperings of the middle movement. That had a lot to do with the superb soloist, Georgian violinist Lisa Batiashvili, who adapted her tone to the music’s every whim.
Hannah Nepil, Financial Times
It is a tribute to Barenboim, and particularly to the musicianship of Lisa Batiashvili, that the excellence of her performance of Tchaikovsky’s violin concerto was far from overshadowed by the Elgar that followed. Batiashvili’s playing had all the mix of gutsy grandeur and soaring lines the piece demands, with the details never blurred even in the tearaway finale, while the interplay between soloist and orchestra was of a very special order.
Martin Kettle, The Guardian