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From Mendelssohn’s intimacy to Bruckner’s monumental scale, Eschenbach’s young orchestra reveals chamber-like sensitivity and steely discipline, with Midori’s interpretation standing as the evening’s emotional and artistic highlight.

Eugene Tzigane and Midori join PKF – Prague Philharmonia for fresh takes on familiar classics.

A refined but unromantic rendition of Brahms' Violin Concerto by Midori following compelling account of Anna Clyne's This Midnight Hour and Debussy's La Mer. 

It is not often that a United Nations Messenger of Peace gives a concert in Sydney. Yet this is what happened on Sunday when violinist Midori Gotō played a recital with pianist Özgür Aydin. 

Billed as “Midori performs Mendelssohn’s Violin Concerto”, this Orchestre symphonique de Montréal concert conducted by James Colon was notable for a blazing performance of Zemlinsky's symphonic poem Die Seejungfrau.

Style, technique, an original approach, a brilliant discography, even an exemplary profile offstage – Midori has it all. What impresses in live performances is her intelligence, her deep understanding of the material and ability to articulate a wide range of visions and voices. 

The most memorable thing about this concert for me was the sheer glory of the Philharmonia’s playing. Whether it was in the winning, sprightly Mozart overture, or in all the glinting colours of Peter Eötvös’ new work, or in the full and rich late-Romantic orchestral tones of the Bruckner, these musicians, conducted by Esa-Pekka Salonen, were magnificent.

The Los Angeles Philharmonic’s January 20 concert, the last in its “Focus on Eötvös” mini-residency, may as well have been called “Focus on Hungary.” The small, landlocked country, with barely over 9 million residents, has exerted – and continues to exert – a powerful influence on music.

The Soundings concert series opened its season Tuesday evening at the Nasher Sculpture Center in Dallas, with violinist Midori and pianist Özgür Aydin. Although the series typically focuses more on contemporary music, Midori offered the program she’s been touring with in celebration of the 30th anniversary of her debut, and it did not disappoint.

An 'immense glow and sumptuousness' were the words that Richard Strauss, aged just twenty-four, chose to describe the sound at the première of his tone poem, Don Juan, in 1889. 122 years later another young conductor found similar qualities with his orchestra.

Das auch Konzertsaal-Klassiker keine reine Routine-Vorstellung bedeuten müssen, zeigten Midori und das Gürzenich-Orchester unter Michael Sanderling bei diesem Benefizkonzert.