LISA BATIASHVILI Echoes of time 4779299

. . . one of the most sought-after violinists . . .

There are many star female fiddlers, but Lisa Batiashvili is special, a violinist of ever-riveting depth and range . . . Aided by the muscular richness of the Bavarian Radio Symphony under Esa-Pekka Salonen, Batiashvili realizes Shostakovich's Violin Concerto No. 1 with an intensity both emotional and dynamic. Her phrasing in the Passacaglia and cadenza is fantastically subtle, her purity of tone like a blade to the heart. Characteristically, Georgian Giya Kancheli's eleven- minute V & V for violin, taped voice and strings is filled with nostalgia, but this has a surreal edge, with Batiashvili's floated lines sounding as if someone were singing in their sleep. A chamber postlude sees Batiashvili pair with pianist Hélène Grimaud for the wistful ultra-minimalism of Arvo Pärt's Mirror in the Mirror, then for Rachmaninov's beguiling Vocalise.

It's a marvellous performance, suitably crepuscular in the opening "Nocturne", before a Gypsy flamboyance takes over for "Scherzo". Salonen proves the perfect accomplice in realising the album's theme of works reflective of the Soviet era . . . [Kancheli's] "V & V", for violin, voice and strings, is a subtle work of haunting melancholy.

[A] truly remarkable debut . . . [an] almost startling performance of Shostakovich's Violin Concerto No. 1, a performance as profound and remarkable as any you might expect from a reigning touring violinist.

Batiashvili not only produces a gorgeous sound, her unique voice is created by the many lyrical colors she pulls from her instrument . . . Lisa Batiashvili felt a real affinity working with Finnish conductor Esa-Pekka Salonen on this recording . . . Batiashvili and Grimaud have wanted to play together for years. This gorgeous performance was worth the wait . . .

[The Shostakovich Violin Concerto is] played with majesty and poetry on this soulful, mixed repertoire recital disc . . . This DG debut disc confirms Batiashvili as a powerful musical voice with an exciting future.

[Shostakovich's Violin Concerto no. 1] is the chief work, played with majesty and poetry on this soulful, mixed repertoire recital disc . . . This DG debut disc confirms Batiashvili as a powerful musical voice with an exciting future.

. . . the listener finds himself at the work's [Shostakovich's Concerto] tortured heart. By the close of the the concerto, violinist and orchestra seem to feel (at any rate certainly make the listener feel) the composer's anguish . . . the results are spellbinding . . . her gleaming, focused tone and fierce musical intelligence need no makeover. Recommended.

Batiashvili is matched in emotional intensity by the Bavarian orchestra and Salonen, as she is in the inspirational way that Shostakovich's palette of colours is so purposefully deployed.

[An] intriguing, varied program in spectacular performances . . . This is a fascinating disc in every way, with state-of-the-art recorded sound.

The kaleidoscopic combination of moods ¿ ranging from the dark solemnity and emotional bleakness of the introduction to the exquisitely haunted lyricism of the "passacaglia" movement, to the manic, sardonic scherzo and final burlesque ¿ clearly hold no terrors for her . . . Throughout, her playing radiates profound emotion. This is musicianship of a very high order . . . all played with equally ravishing beauty . . . The four stars are definitely for the playing and the sensitive orchestral and piano accompaniment!

Shostakovich's First Violin Concerto receives a deeply considered interpretation, its emotional narrative vividly etched by both soloist and conductor . . . in Kancheli's "V & V" the violin and taped voice engage in magically ethereal dialogue with a string orchestra . . .

There's a personality here, and an interesting one . . .[Shostakovich]: [Batiashvili] gives it the finest performance I've heard in many years . . . The cadenza from the third into the fourth movement is an object lesson in how to build tension without peaking too soon. Meanwhile, the fast movements are razor-sharp, and incisive without overplaying.

This thoughtfully conceived and beautifully realized disc opens with a formidable account of the First Violin Concerto, one that conveys the gravity and pathos of the majestically tragic Passacaglia and catches the sharp edges as well as the irrepressible energy of the coruscating Burlesque.

A resourceful reading of one of the great modern violin concertos, filled out with some alluring shorter pieces by Giya Kancheli and Arvo Pärt.

Technisch souverän, mit rundem, warmem Ton dringt sie tief in die Welt dieses einzigartigen Konzerts vor, das von Schmerz und sarkastischer Wut erfüllt ist, aber auch Anklage gegen das Unrecht in der Welt erhebt.

. . . 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.

Statt eine Kopie abzuliefern, entwickelt die Georgierin eine ganz andere, sehr persönliche Lesart . . . [Im Scherzo] verschwindet der Sarkasmus zugunsten einer gelenkigen Beschwingtheit, in den langsamen Sätzen spielt die Geige die schöne, zarte Seele, während es dem Orchester unter Esa-Pekka Salonen überlassen bleibt, Härte zu zeigen. Dieses ungewohnte Schostakowitsch-Bild überzeugt, weil Batiashvilis Spiel nie gekünstelt oder gar süßlich klingt und sie große Linien mit bezwingender Natürlichkeit entwickelt. Batiashvili ist eine Meisterin der leisen Töne.

Gleich der erste Einsatz der Sologeige im ersten Schostakowitsch-Konzert führt in sozusagen überirdische Gefilde: Was für ein Geigenklang! Rund und räumlich, ein breit ausladender, von weiten Atembögen getragener, edel leuchtender Gesang auf vier Saiten. Hier, so möchte man sagen, hier redet eine Künstlerin ihre Muttersprache. Lisa Batiashvili spielt diese Musik, als wären es ihre ureigenen Klangwelten . . . Ein magistraler Einstand bei der Deutschen Grammophon!

. . . ihre Darstellung [von Schostakowitschs Konzert] zeigt ein starkes Profil . . . macht sie deutlich, wie überlegen sie die Materie beherrscht. Dies ist eine der geigerisch souveränsten Aufnahmen des Werkes.

Unter den jüngeren Geigenstars ist Lisa Batiashvili sicher diejenige mit dem schönsten Ton, voll Wärme, Energie und Leuchtkraft . . . [eine] hinreißend gespielte Aufnahme des Schostakowitsch-Konzerts . . . [gemeinsam mit Oistrach ist] die energetische Spannung des Tons, das prachtvolle runde Vibrato . . . [sie] setzt von Anfang an auf expansiv solistisches Spiel . . . [und gewinnt] eine extrem suggestive, erzählerische Aura. In den schnellen Sätzen fädeln sich die Bläsersolisten des Symphonieorchesters des Bayerischen Rundfunks mit bewundernswert virtuoser Präsenz in die bei aller Fetzigkeit intensiv artikulierende Violinstimme ein, ohne dass dadurch je der Eindruck oberflächlicher Kehraus-Heiterkeit entstände.

La jeune violoniste d'origine géorgienne fascine dès l'abord par la pureté de son, la continuité dramatique et l'éloquence racée de son archet.