Lisa Batiashvili
Violin

“She played with pure, gorgeous tone and fabulous technique... Could you have fairly asked for more? The audience, to judge from its standing ovation, was fully content.” (The New York Times)

Contacts

Lydia Connolly +44 (0)20 3725 9118
Ed Milner +44 (0)20 3725 9178
Charlie-Rose Terry +49 (0)89 6797 10446

Biography

Lisa Batiashvili, Musical America’s 2015 Instrumentalist of the Year, is this season’s Artist-in-Residence with the Accademia Nazionale di Santa Cecilia (Rome). Praised by audiences and fellow musicians for her virtuosity and “profound sensitivity” (Financial Times), the Georgian-born violinist, who has lived in Germany for over 25 years, has developed long-standing relationships with some of the world’s leading orchestras, including the New York Philharmonic, Staatskapelle Berlin, Berliner Philharmoniker, Tonhalle-Orchester Zürich, Chamber Orchestra of Europe, and London Symphony Orchestra. 

In the 2017/18 season Lisa will perform the UK premiere of Anders Hillborg’s Violin Concerto No.2 with the BBC Symphony Orchestra (Sakari Oramo). As part of her residency with Accademia Nazionale di Santa Cecilia, she will perform concertos by Tchaikovsky (Antonio Pappano), and Prokofiev (Manfred Honeck), as well as Bach’s Concerto for Violin and Oboe (François Leleux). Lisa will debut with the Orpheus Chamber Orchestra in Carnegie Hall, and tour Europe with the Gustav Mahler Jugendorchester (Vladimir Jurowski and Lorenzo Viotti), the Chamber Orchestra of Europe (Antonio Pappano), and Staatskapelle Dresden (Alan Gilbert). Other performance highlights include the Orchestre Philharmonique de Radio France (Mirga Gražinytė-Tyla), Münchner Philharmoniker (Alan Gilbert), and Sydney Symphony Orchestra (Dima Slobodeniouk). 

Lisa Batiashvili, Musical America’s 2015 Instrumentalist of the Year, is this season’s Artist-in-Residence with the Accademia Nazionale di Santa Cecilia (Rome). Praised by audiences and fellow musicians for her virtuosity and “profound sensitivity” (Financial Times), the Georgian-born violinist, who has lived in Germany for over 25 years, has developed long-standing relationships with some of the world’s leading orchestras, including the New York Philharmonic, Staatskapelle Berlin, Berliner Philharmoniker, Tonhalle-Orchester Zürich, Chamber Orchestra of Europe, and London Symphony Orchestra. 

In the 2017/18 season Lisa will perform the UK premiere of Anders Hillborg’s Violin Concerto No.2 with the BBC Symphony Orchestra (Sakari Oramo). As part of her residency with Accademia Nazionale di Santa Cecilia, she will perform concertos by Tchaikovsky (Antonio Pappano), and Prokofiev (Manfred Honeck), as well as Bach’s Concerto for Violin and Oboe (François Leleux). Lisa will debut with the Orpheus Chamber Orchestra in Carnegie Hall, and tour Europe with the Gustav Mahler Jugendorchester (Vladimir Jurowski and Lorenzo Viotti), the Chamber Orchestra of Europe (Antonio Pappano), and Staatskapelle Dresden (Alan Gilbert). Other performance highlights include the Orchestre Philharmonique de Radio France (Mirga Gražinytė-Tyla), Münchner Philharmoniker (Alan Gilbert), and Sydney Symphony Orchestra (Dima Slobodeniouk). 

Recording exclusively for Deutsche Grammophon, Lisa’s latest album, a recording of the Tchaikovsky and Sibelius violin concertos with Daniel Barenboim and Staatskapelle Berlin, received international critical acclaim. 

Lisa has been awarded two ECHO Klassik awards, the MIDEM Classical Award, the Choc de l'année, the Accademia Musicale Chigiana International Prize, the Schleswig-Holstein Music Festival's Leonard Bernstein Award and the Beethoven-Ring. 

Lisa lives in Munich and plays a Joseph Guarneri “del Gesu” from 1739, generously loaned by a private collector.

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Contacts

Lydia Connolly +44 (0)20 3725 9118
Ed Milner +44 (0)20 3725 9178
Charlie-Rose Terry +49 (0)89 6797 10446

Reviews

“… a magnificently lithe and lyrical performance of Sibelius’s Violin Concerto from Lisa Batiashvili, which caught the heroic stature of the music without any sense of strain.” (The Telegraph, July 2017)

“... fabulously agile, intense soloist” (The Guardian, July 2017)

“Lisa Batiashvili played Dvorak’s Violin Concerto, and did so brilliantly. Fiery, eloquent and rich-toned, she searched the music for maximum expression and brought passion to the solo line.” (Classical Source, April 2017)

“… a magnificently lithe and lyrical performance of Sibelius’s Violin Concerto from Lisa Batiashvili, which caught the heroic stature of the music without any sense of strain.” (The Telegraph, July 2017)

“... fabulously agile, intense soloist” (The Guardian, July 2017)

“Lisa Batiashvili played Dvorak’s Violin Concerto, and did so brilliantly. Fiery, eloquent and rich-toned, she searched the music for maximum expression and brought passion to the solo line.” (Classical Source, April 2017)

“She’s a dreamy-sounding, inward soloist at the start, shaping the melodies with care yet propelling them forward – this mammoth work has rarely seemed so concise. The Sibelius soars and sings in the first movement, and dances in the finale with a rare agility.” (The Guardian, November 2016) 

“…carefully executed, tremendously confident and entirely devoid of bravura or machismo. Batiashvili’s playing was clear in every way – sparkling articulation, pure sound in high positions, and phrasing and shifts simultaneously carefully planned and utterly artistic.” (The Strad, September 2016)

"There is something so super-intuitive about (Lisa’s) playing that, while she is performing, the brilliance of her technique, the range of her colours and the sheer invention of her phrasing are subsumed into the intrigue of her musical storytelling" (Edward Seckerson, Gramophone Magazine, January 2017)

“It is a tribute to Barenboim, and particularly to the musicianship of Lisa Batiashvili, that the excellence of her performance of Tchaikovsky’s violin concerto was far from overshadowed by the Elgar that followed. Batiashvili’s playing had all the mix of gutsy grandeur and soaring lines the piece demands, with the details never blurred even in the tearaway finale, while the interplay between soloist and orchestra was of a very special order.” (Martin Kettle, The Guardian, April 2015)

“The first half of the second concert in the series was no less glorious, as Lisa Batiashvili joined Barenboim and his band for Tchaikovsky’s Violin Concerto in D. There was no trace of vanity in her playing or her body-language, and she presided over the orchestra as persuasively as Argerich had done – indeed, for much of the time Barenboim let this young Georgian virtuoso set the pace. She brought classical restraint to this high-Romantic music, with no indulgence in swoops or slides apart from the ones dictated by the score, and she delivered those – even when rapidly double-stopped – with flawless ease and precision; for the Canzonetta she found a chaste beauty of sound.” (Michael Church, The Independent, April 2015)

“This seductive work tuned ear and spirit for Lisa Batiashvili’s outstanding performance of Sibelius’s Violin Concerto: a miracle of gentle, tender contemplative playing fused with impassioned, note-perfect passages of solo prowess. Salonen lashed his orchestra into an energy to equal Batiashvili’s own in the exuberant finale.” (Hilary Finch, The Times, June 2014)

“This year, the recording I’ve most often replayed, with undimmed pleasure, is Lisa Batiashvili’s radiant performance of the Brahms Violin Concerto. She brings out all the great work’s drama, mystery, excitement and lyrical intensity. The final march is irresistibly joyful.” (Duncan Druce, Gramophone, Critic’s Choice 2013)

“She’s the complete musician: Heart balancing head; ego placed at the music’s service.” (Geoff Brown, The Times, August 2013)

“A superlative performance by the young Georgian violinist Lisa Batiashvili. There was no vanity in her playing, just an elegantly expressive virtuosity which went to the heart of this work.” (Michael Church, The Independent, August 2013)

“… Lisa Batiashvili's triumphant account of the Brahms Violin Concerto. She played with a ravishing and varied tone, supple phrasing, firm rhythm and a close regard for the developmental logic of the music. With her leonine bow arm she drew a bright, penetrating yet wonderfully flexible sound from her instrument. Moreover, her rubato was placed entirely at the service of the music, especially in the slow movement. The crowd went wild at the end.” (John von Rhein, Chicago Tribune, April 2013)

“This performance is lively and warm, partly thanks to Batiashvili [the concerto's electrifying soloist on this CD], who sets the dominant tone in her darkly sensuous opening line. Throughout Batiashvili remains herself: less showy than some but deeply responsive to the music's inner workings and its colours. The range of hues summoned within her long phrasings is wondrously wide, each one delicately applied. The slow movement, the concerto's singing heart, is tender without being sentimental... Here is the sort of thoughtful reading that makes you fall in love with the concerto all over again.” (Geoff Brown, The Times, January 2013)

“Commanding a dazzling technique at the service of profound sensitivity, she took telling liberties with tempo and line yet always sustained rhythmic tension. Exploring vast dynamic extremes, she soared in dramatic outbursts, whispered in lyrical indulgences and lingered poignantly over subtle nuances. She was inspired, and inspiring, even when breezing through Fritz Kreisler’s fiendishly anachronistic cadenzas.” (Financial Times, August 2012)

“Ms. Batiashvili played with pure, gorgeous tone and fabulous technique. She made child’s play of Fritz Kreisler’s cadenzas, even in double-stopped counterpoint. Could you have fairly asked for more? The audience, to judge from its standing ovation, was fully content.” (The New York Times, August 2012)