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Midori, violinist

Reviews

Recital, Wigmore Hall (Fauré Violin Sonata)
Midori captures perfectly the introverted passion found within its circular confines. There was an effortless, teasing flexibility to her line, mirroring the constantly fluctuating harmony. She used such subtle rubato to fuel climaxes as naturally as a bird rides the thermals; and amid the tug of rhythmic currents, even the simplest rising scale was made thrilling. No-one can sound more silken than Midori, but there is sinew there too.
The Times

London Symphony Orchestra / Eschenbach (Bruch 1st Concerto)
She brought all her considerable might and musical intellect to this performance of Bruch’s first concerto, investing its opening vorspiel with heavy, lingering portent. Her deep sincerity, and the sense of a thoroughly worked-through interpretation, called to mind words Bruch used in describing his study of folk music: "with seriousness, perseverance and unending interest".
The Times

St Louis Symphony / Hans Vonk (Sibelius Violin Concerto)
Midori’s account of the Sibelius Violin Concerto opus 47 with Hans Vonk conducting the mighty St Louis Symphony Orchestra was one of those memorable occasions to witness sheer artistic genius. From the outset, Midori’s dignified and poised presence indicated the manner in which the complexity of the music would unfold. The Concerto, one of the most taxing in the repertoire, received an eloquent and spellbinding reading with Midori’s technical strength shining through to support the virtuosity of the work. Her consistent and beautifully weighted tone, with wide dynamics, perfectly graduated with innate musicality, resulted in a mature, emotionaly charged performance of immense beauty.
Birmingham Post

Pittsburgh Symphony / Mariss Jansons (Dvorak Violin Concerto)
The sound is fine and lean and the technique as impregnable as ever. More important is the soundness and seriousness of the musicianship.
New York Times

Recital, Carnegie Hall (Franck Sonata)
This was a remarkable performance, but so too was that of Franck’s sonata at the end. Midori made the opening melody so gentle, so fragile, you almost did not want to hear it for fear it would break in your ears. But music is tough as well as weightless. For as long as the sonata went on in this vein – and again when it returned to similar material – Midori kept up her fingertip handling, and yet, as in the Mozart, her musical expression was sure and large. There was a touching sense that much more was being implied than could be said, that here was someone smiling through tears – or weeping through laughter. The ambiguity was complete, and right.
New York Times

Recital, Milan (Bach, Brahms, Debussy, Poulenc)
The other night she gave a truly wonderful recital at the Sala Verdi for the Società dei Concerti (accompanied by the pianist Robert McDonald), which was received with acclaim by the capacity audience. As a performer Midori seeks pure and simple beauty, displayed through a fascination of the senses. She approached four great composers – Bach, Brahms, Debussy and Poulenc – as though they were a single piece of silk, the caressing of which caused a thrill of pleasure.
Corriere della Sera