The New York Times, December 16, 2006

By ALLAN KOZINN

The soloist in the (Britten) concerto was Midori, who has been playing a lot of contemporary music lately and plans to do more. ... She was completely at home here. Britten's alternation of singing lines, virtuosic filigree and passages that call for either brashly percussive bowing or pizzicato let her play to her strengths. And she made a case, not incidentally, that the work deserves to be heard more often in concert.