“...an overwhelmingly passionate but utterly sincere performance of the Elgar Concerto. Phrasing and rubato were ripe, and though every member of the LSO seemed swept up by the music, control was absolute, balance immaculate. Midori’s entry, a cry of pain interrupting the horn’s dying fall, was heart-stopping. For all her eloquent command of nuance, her tone - noble, without false glamour - remained unsullied. This was an interpretation of complete dedication to the score...I will never hear a greater performance of this greatest of violin concertos.” The evening STandard

“Many soloists today have masterly technique, but few conjure such searing intensity seemingly out of nowhere. Midori plays not on top of the strings but deeply inside them, pulling the sound out so vigorously that the entire violin sometimes protests with an audible nasal buzz. There was something thrilling in hearing that buzz on Saturday night. It meant that a supremely well-made instrument was being played at the very edge of its envelope and that the performer had chosen sonic expressiveness over safe and unblemished tonal beauty”The new York TimeS

“...her spitfire energy excitingly takes command...this young violinist is not only a formidable technician, but also a musician who knows what she wants to say with every note.”Financial TimeS

“If last night had been just a concert, with no other significance or purpose, Midori’s performance of Chausson’s Poème would have been the intellectual highlight. It is music of Wagnerian import cast in the elusiveness of French harmony; it wanders, meanders, makes statements and retracts them. It is passionate music that avoids clarity. She played it with spectacular tone and clear-sightedness. It was the musical high point, superseded only by her magnificent rendition of the Bach Chaconne from the Partita No.2.” waShingTon PoST

“In the Shostakovich she quickly fell into crisp form. Long a champion of this work, she knew exactly what she wanted to do. Her steps were uncomplicated and deliberate; her notes clear and perfectly placed. Her cadenza personified suspense. Most impressive was her thick tone on the highest strings, banishing the shrill tendencies of Shostakovich and inviting the audience in.” PiTTSburgh PoST-gazeTTe

“This startling sense of freshness was sensed the moment Midori began to sculpt the violin’s initial entrance...Midori turned the passage into an arresting monologue that, despite its brevity, spoke volumes about the essence of musical romanticism. With a remarkable variety of tone quality and dynamics, she established the violin as the heroic, yet somehow self-effacing, center of an intense drama.”balTimore Sun

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