"Midori’s interpretation, in a word, was simply magical... No encore was needed; the audience was already speechless."

"Midori’s solos are crafted with beguiling naturalness – floating in the upper register, brawny in the lower – rhapsodic throughout. Everything speaks: dynamic contrasts are strongly etched, the score’s lyrical lines and rhythmic gestures are beautifully matched between soloist and ensemble, and the culminating cadenza burns hot."

"More than 30 years after bursting on the scene as a pint-size violin prodigy, Midori continues to set an example for how to be an engaged musician in the modern world."

"Midori sailed through its treacherous technical challenges, taking her time to communicate its lyrical passages with breathtaking beauty. She phrased with emotion and a pure, sweet tone in the first movement, ending with ethereal sounds high in the stratosphere. Her playing was interior, and every note had meaning… It all seemed effortless. Yet no matter how intense the technical challenges, Midori’s tone on her 1734 Guarnerius del Gesu violinwas always one of beauty."

"Midori’s is still the singular sound familiar from her long affiliation with the virtuosic standards: big, focused, strongly projected, uncannily smooth and consistent bowing across a broadband spectrum of volume and color."

"In making Bach’s music her own, note by note, she has come closer to the composer than probably anyone before her."

"Midori’s muscular playing and virtuosic agility are a sight to behold. She gets into herperformance with her entire physique, delving into her instrument as if she has toextract the sound from her 1734 Guarneri del Gesù by force."

"Midori is a violin superstar. The audience love her not only for her technical brilliance and flawless playing, but also her personality." 

"Midori’s Bach is radically introverted, as if we could move around inside Bach’s brain… She plays with a sparkling precision that is almost frightening, perfect as a Zen exercise. And yet, even as polished as her playing seems, it is never uniform. It breathes inwardly, painting the inner polyphony dreamily and accurately."