Performance reviews, critical acclaim, and features
PressShe’s a dreamy-sounding, inward soloist at the start, shaping the melodies with care yet propelling them forward – this mammoth work has rarely seemed so concise.
Erica Jeal, The Guardian
A superlative performance by the young Georgian violinist Lisa Batiashvili. There was no vanity in her playing, just an elegantly expressive virtuosity which went to the heart of this work, and her sound was ideally focused for the difficult acoustic. Her encore made a welcome break from the usual Bach/Kreisler routine: a Georgian song-and-dance by Sulkhan Tsintsadze, charmingly arranged for violin and orchestra by her father Tamas Batiashvili.
The Independent
“Batiashvili received a thunderous ovation, one of the longest and most enthusiastic accorded a downtown soloist in recent seasons.”
The Classical Review
This performance is lively and warm, partly thanks to Batiashvili [the concerto's electrifying soloist on this CD], who sets the dominant tone in her darkly sensuous opening line . . . throughout Batiashvili remains herself: less showy than some but deeply responsive to the music's inner workings and its colours. The range of hues summoned within her long phrasings is wondrously wide, each one delicately applied. The slow movement, the concerto's singing heart, is tender without being sentimental... Here is the sort of thoughtful reading that makes you fall in love with the concerto all over again.
The Times, 01/2013
Die Geigerin spielt ihren Part mit einem schlanken Ton, dessen Schönheit einer starken sinnlichen Komponente nicht entbehrt...
Bonner Generalanzeiger
The soloist was Lisa Batiashvili, outstanding even among the very many fine violinists of her generation.
The Times, 08/2011
This cadenza — a sudden freeing of the individual voice from its dark orchestral environment — was, in the hands of Batiashvili, a searing portrait of the creative soul inwardly screaming in anguish. … Batiashvili compressed the D-S-C-H motif tightly within both the cadenza and a Scherzo that seemed both to thumb the nose to authority, and to turn in on itself in grotesque self-mockery.
The sheer stamina, intensity of focus and perfectionism of pitch and voicing in Batiashvili’s performance was remarkable. And her encore — Shostakovich’s droll little Dance of the Dolls — was a perfectly judged release of tension
Batiashvili is highly impressive in Shostakovich’s Concerto. Her playing is often breathtaking -- she has a hugely adaptable sound, a well-judged and flexible vibrato, immaculate phrasing, and a piercingly precise sense of intonation. Even better, she knows how to use all these in the service of the music . . . Esa-Pekka Salonen is alive to the score's finer details.
The Strad, 03/2011