Sydney Morning Herald, 11 July 2006

By PETER MCCALLUM

Midori nursed the theme (of the first movement of Britten's Violin Concerto), drawing it to her, crouching when the music becomes agitated so that when she reached the cadenza she seemed to strike great gestures from the violin, each one falling in the dead centre like a wailing cry. ... At the close of the finale, a portentous passacaglia, Britten arrives at a moment of radiance which the violinist has to extract from single notes played simultaneously on two strings. Midori played them as though the sun had been willed to rise. ... Midori returned for the Bruch Violin Concerto in G minor, lingering with cold loneliness on an F sharp in the introduction, dreaming the middle movement with the brightness of a still clear moon and grasping the double-stopped chords of the finale as though clinging to a partner in a perilous dance.