“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
Founder and Artistic Director: Lisa Batiashvili Foundation
Artistic Director: Audi Sommerkonzerte Ingolstadt (2019 – 2022)
“Batiashvili’s fearless playing is so tonally rich and technically immaculate.” (The Guardian)
Lisa Batiashvili, the Georgian-born German violinist, is praised by audiences and fellow musicians for her virtuosity. An award-winning artist, she has developed long-standing relationships with the world’s leading orchestras, conductors and musicians. In 2021 Batiashvili formed and continues to lead the Lisa Batiashvili Foundation, which serves her livelong dream and commitment in supporting young, highly talented Georgian musicians to thrive in their musical careers.
Batiashvili is the Artistic Director of Audi Sommerkonzerte, Ingolstadt. For the 2022 festival, she performed Shostakovich’s Violin Concerto No.1 with Santtu-Matias Rouvali and the Münchner Philharmoniker under the motto “Keep On Dancing”.
In 2022/23 Batiashvili returns to New York Philharmonic, Cleveland Orchestra, Philharmonia Orchestra and Czech Philharmonic Orchestra. She also embarks on tours with Royal Concertgebouworkest, Chamber Orchestra of Europe and Orchestra dell’Accademia Nazionale di Santa Cecilia. Lisa Batiashvili regularly appears on stage with orchestras including the Berliner Philharmoniker, London Symphony Orchestra, Wiener Philharmoniker, New York Philharmonic, Royal Concertgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks, Staatskapelle Dresden, Orchestra dell’Accademia Nazionale di Santa Cecilia and Boston Symphony Orchestra, among others.
Recording exclusively for Deutsche Grammophon, Batiashvili’s latest album Secret Love Letters was released in August 2022, with Yannick Nézet-Séguin and Philadelphia Orchestra.
Her 2020 City Lights project marks a musical journey that takes listeners around the world to eleven cities with an autobiographical connection with music ranging from Bach to Morricone, and Dvořák to Charlie Chaplin. A twelfth city was added in 2022 with the release of her single Desafinado, celebrating Rio de Janeiro. At the renowned Concert de Paris on Bastille Day in 2020 she performed the title track City Memories which was broadcast internationally.
Her previous recording – Visions of Prokofiev (Chamber Orchestra of Europe/Yannick Nézet-Séguin) – won an Opus Klassik Award and was shortlisted for the 2018 Gramophone Awards. Earlier recordings include the concertos of Tchaikovsky and Sibelius (Staatskapelle Berlin/Daniel Barenboim), Brahms (Staatskapelle Dresden/Christian Thielemann), and Shostakovich No.1 (Symphonieorchester des Bayerischen Rundfunks/Esa-Pekka Salonen).
Bastiashvili has had DVD releases of live performances with the Berliner Philharmoniker/Yannick Nézet-Séguin (Bartok Violin Concerto No.1) and with Gautier Capuçon, Sächsische Staatskapelle Dresden and Christian Thielemann (Brahms’ Concerto for Violin and Cello).
She has won a number of 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. Batiashvili was named Musical America’s Instrumentalist of the Year in 2015, was nominated as Gramophone’s Artist of the Year in 2017, and in 2018 was awarded an Honorary Doctorate from the Sibelius Academy (University of Arts, Helsinki).
Lisa lives in Munich and plays a Joseph Guarneri “del Gesu” from 1739, generously loaned by a private collector.
HarrisonParrott represents Lisa Batiashvili for worldwide general management.
“The key to Szymanowski’s concerto lies in its balance, the control of which was in the masterly hands of the violinist Lisa Batiashvili. She played the solo line like a seamless, lyrical song”
“There is no violinist currently playing the high end of the international circuit that I would sooner go out of my way to hear than Lisa Batiashvili.”
“What a violinist! Lisa Batiashvili approaches Jean Sibelius’ Violin Concerto with masterful composure. Her playing is flawless, the technical demands of this showpiece among the virtuoso concertos cannot be heard from her. It goes without saying that she does not use fireworks to display technical skills, but rather puts them at the service of music. The Gewandhausorchester around Batiashvili follows this filigree and powerful, elegant and existential, romantic as well as classicist excursion with devoted self-assurance; giving and receiving, closely interwoven with the unique sparkle that Lisa Batiashvili elicits from her Guarneri.”
“Lisa Batiashvili was the breathtaking soloist, spinning out Szymanowski’s long, ecstatic lines with wonderful sweetness of tone and exquisite finesse”
“Batiashvili’s playing was cool in the questing introduction…producing sophisticated lyricism…The second subject was warm and supple. The development, with its hopping staccato double-stops, was light on its feet, with an impish air. The cadenza was beautifully shaped and technically impeccable.”
“…Tchaikovsky’s Violin Concerto, delivered with dazzling aplomb, and some succulent hush in the Canzonetta, by the reliably excellent Lisa Batiashvili.”
“Batiashvili floats the endless melody of the second movement with perfect poise”
“She flings off the quicksilver flight of the scherzo with breathtaking brilliance”
“Batiashvili was completely in the zone – masterful, committed, dream-like and sometimes nightmarish with fiery aggression, bow flailing over strings and fingers nimble and precise. Her performance was captivating and totally absorbing, full of tension, reflection and impassioned drama.”
“… the concerto does make a fine showcase for Batiashvili’s fearless playing, which is so tonally rich and technically immaculate.”
“… 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.”
“… fabulously agile, intense soloist”
“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.”
“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.”
“…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.”
“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”
“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.”
“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.”