Sibelius: Violin Concerto in D minor, Op. 47

“He has the clean, clear-cut and effortless technique that is a prime necessity for [the Sibelius] concerto. The reading is straightforward, with no lack of intensity...Ricci is especially impressive in the Finale [of the Tchaikovsky], where the soloist's brilliance comes into its own - inspiring an electricity in Sargent's conducting which was often lacking in his studio recordings.” Penguin Guide, 2011 edition

“The Norwegian violinist launches this impressive debut recording with a commanding interpretation of the Sibelius concerto. The slow movement’s sweetly emotional, and she marries the finale’s mix of sinew and twinkle with unusual conviction — it must be her Scandinavian blood.” The Times, 6th February 2010 ****

“Frang makes a considerable impact. It's clear that the Sibelius concerto means a lot to her; she's constantly searching for the tonal quality and manner of playing that will project most strongly her vision of the music...And her technique is secure enough to surmount all Sibelius's virtuoso hurdles.” Gramophone Magazine, April 2010

“Frang heralds one of the freshest and most vital accounts of this familiar and frequently recorded work [the Sibelius concerto] in recent years. On display from the off is a vivid sense of intellectual drive and emotional sinew in playing that taps into Scandinavian melancholy and suppressed passion to genuinely engaging effect.” Michael Quinn, bbc.co.uk, 16th February 2010

“The Schoenberg is simply astonishing. Hahn and Esa-Pekka Salonen shows how much beauty and brilliance there is in this work.” BBC Music Magazine, May 2008 *****

“Hilary Hahn's performance of Schoenberg's Concerto is magnificent recording. When the last chord sounds its full stop, the sense of satisfied finality is exhilarating. Hahn has the full of measure of the piece, its gawky lyricism, ethereal filigree and cripplingly difficult cadenzas (awkward chords galore), all rendered seemingly effortless.
Wisps of old-world Vienna echo from the Andante, whereas in a performance of this calibre the finale's complex acrobatics suddenly have musical meaning.
Of course having a first-rate orchestra and conductor helps: Esa-Pekka Salonen's direction is in the very best sense of the term 'slick', a perfect example of musical badinage, alert, crystal-clear and superbly recorded. Which makes the CD mandatory listening both for lovers of the work who crave an appreciative performance and for doubters who still await conversion.
The Sibelius performance is fascinating but less wholly convincing although as with the Schoenberg Hahn weaves a seductive, evenly deployed tone and her technique is impeccable. But while in the Schoenberg you sense a palpable level of emotional engagement Hahn's approach to Sibelius is cool, sphinx-like one might say, the first movement's many solo passages broadly drawn but somehow remote. No violinist currently performing makes a lovelier sound and although time and again one notes some illuminating phrase (not to mention Salonen's immaculately groomed accompaniment) the sum effect is of a strangely cold beauty. But the Schoenberg performance is magnificent.” Gramophone Classical Music Guide, 2010

“Where Heifetz warily trod, Hahn strides to a triumphant performance ... The Schoenberg performance is, as I say, magnificent. ” Gramophone Magazine, June 2008

“…Batiashvili revels in the challenges, technical and expressive, that Lindberg has placed before her. This is a commanding first recording of a work that, in its approachability and appeal, deserves to become a modern classic” The Telegraph Classical CD of the Week

“The formidable Lisa Batiashvili plays the hugely demanding solo part with breathtaking brilliance” Sunday Times

“Still there's plenty of drama, fire and lyrical beauty in the Lindberg Concerto and the brilliant young soloist Lisa Batiashvili makes plenty of it. This is a searing performance, with strong support from the Finnish Radio Symphony… superbly recorded.” BBC Music Magazine, February 2008 *****

“…Lisa Batiashvili, whose agility and tonal sweetness serve as an ideal foil for the blinding colours on Lindberg's constantly shifting canvas. Sibelius's Concerto provides a comforting disc companion, especially as the performance so memorably focuses on the dreamier elements of the first movement. Batiashvili bows a seamless sensual line, her tone smooth as silk. Sakari Oramo conducts a cleanly detailed and warmly articulated accompaniment, stronger on pulse than on drama, and at times sounding almost like chamber music.” Gramophone Magazine, November 2007

“It's been said that Magnus Lindberg forges his works more from harmony and rhythm than from unfolding melodic lines, and the celestial acrobatics of this neatly constructed Violin Concerto, a real star-burst of a piece, tend to bear out that theory. It was premiered last year in New York, the soloist, as here, Lisa Batiashvili, whose agility and tonal sweetness serve as an ideal foil for the blinding colours on Lindberg's constantly shifting canvas. The work opens like a bright light descending, the soloist a first among equals who, beyond her brief cadenza, witnesses a gradual darkening of orchestral texture.
The harmonic complexion can be either ravishing or dissonant, and the range of musical gesture, from ethereal reverie to Bartókian dance is consistently gripping. The breathless stream of invention recalls Lindberg's similarly hyperactive Clarinet Concerto – anyone who enjoyed that work should relish this one too.
Sibelius's Concerto provides a comforting disc companion, especially as the performance so memorably focuses on the dreamier elements of the first movement. Batiashvili bows a seamless, sensual line, her tone smooth as silk. Sakari Oramo conducts a cleanly detailed and warmly articulated accompaniment, stronger on pulse than on drama, and at times sounding almost like chamber music. Those who like their Sibelius flinty or rough-hewn might find this reading just a little too civilised, though for me the joy of hearing everything so considerately thought through and 'joined up' more than compensates for a lack of elemental drive. In any case it's the Lindberg that makes this disc unmissable.” Gramophone Classical Music Guide, 2010

“These great performances are recommended with all possible enthusiasm. It can be doubted that there is another artist who has, in addition to the outstanding gifts of all virtuosi, such ardour and fire, such a capacity for embracing us all in the sweep of her bow.” Gramophone Magazine