Süddeutsche Zeitung, December 2, 2004

By REINHARD J. BREMBECK

Midori favors an incredible intensity in her playing. Her tone is always clear. Even when it expands into broadness, it never becomes shrill or uncontrollably loud. Instead, she creates progressions and climaxes and builds up enormous tensions. There is nothing accidental, everything is an existential experience. This is why she approaches Debussy and Janáček in the context of future, dissolution and the deconstruction of boundaries.