Press

Shostakovich Violin Concerto No.1 / Tonhalle-Orchester Zürich, cond. Lionel Bringuier

Bachtrack, June 2017

"Es war eine Freude, dem weichen, warmen und tragenden Ton seiner Stradivari, dem unauffälligen Vibrato, der Sicherheit in der äußerst anspruchsvollen Intonation zuzuhören: ein wahrer Klangästhet höchster Güte…  Für den fast frenetischen Applaus offerierte er eine Zugabe. Dann erklang – gänzlich unaufgeregt und in makellosem Ton – das Largo aus Bachs dritter Solo-Sonate: der perfekte Ausklang nach Schostakowitschs Meisterwerk!”
“It was a joy to listen to the soft, warm, supporting tone of his Stradivarius, his unobtrusive vibrato, and his surety in the extremely challenging intonation; a true tonal aesthete of the highest order…Enthralling!… The almost frenetic applause was rewarded with an encore – and out rang the Largo from Bach’s third solo sonata: utterly tranquil and with impeccable tone, the perfect finale to follow Shostakovich’s masterpiece!"

Prokofiev Violin Concerto No.2 / Mariinsky Orchestra, cond. Valery Gergiev

Seen and Heard International, October 2016

"There was plenty of virtuosic excellence… he demonstrated quite remarkable abilities of contrast between the lyrical and the stark pizzicato rhythms… Barati gave us some beautifully sustained sotto voce playing. His opening solo recitative was well structured with just the right degree of expression."

Prokofiev Violin Concerto No.2 / Mariinsky Orchestra, cond. Valery Gergiev

Classical Source, October 2016

"Baráti played magnificently and gave a deserved encore"

Prokofiev Violin Concerto No.1 / Mariinsky Orchestra, cond. Valery Gergiev

Classical Source, October 2016

"Kristóf Baráti and Gergiev revealed the music’s evocation and enchantment to compelling effect and enjoyed its angular arguments… they also responded fully to the sultry colours and increasing eroticism of the Finale… Baráti’s rich-toned musicianship was matched by his technical excellence"

Prokofiev Violin Concerto No.1 / Mariinsky Orchestra, cond. Valery Gergiev

Times, October 2016

"[Baráti] has a pure, even tone, a supple bowing arm and phenomenal left hand pizzicato."

Prokofiev Violin Concerto No.1 / Mariinsky Orchestra, cond. Valery Gergiev

Guardian, September 2016

"As soloist in the Violin Concerto No.1, Kristóf Baráti started at the other extreme of audibility, his honeyed tone and intense intimacy willing the orchestra into submission. With his delicate sculpting of phrases and welcome injections of expressive breathing space, Baráti brought a degree of care and fragility that was all too absent from the rest of the programme."

Bach Complete Works for Solo Violin / Verbier Festival

Strings Magazine, August 2016

"Baráti draws a full-throttled sound from the 1703 “Lady Harmsworth” Stradivarius, and in the high-ceilinged space of the Verbier Village church, his Bach reverberated impressively… His gutsy playing makes him one to watch."

Recording: Mozart Complete Piano Concertos / Hungarian Chamber Orchestra (Brilliant Classics)

Der Spiegel, June 2016

"Nun zeigt der Ungar, dessen makellose Intonation und Stilsicherheit sich schon an Bach, Paganini, Brahms und Ysaÿe bewährt haben, überragendes Können ausgerechnet dort, wo man am leichtesten scheitern kann. Denn so erfrischend musikantisch und fern aller Nervosität muss man Mozarts Kunst erst einmal zu nehmen wissen.”
“And now the Hungarian, having already proved his impeccable intonation and stylistic command with Bach, Paganini, Brahms and Ysaÿe, demonstrates his outstanding skill exactly where it might be the easiest to fail. He knows exactly how to interpret Mozart’s art in a refreshingly musical way, free of any nervousness."

Recording: The Soul of Lady Harmsworth / Gábor Farkas, piano (Hungaroton)

The Strad, May 2016

"Kristóf Baráti performs this mixed bag of violin encores with striking technical facility, innate musicality and fearless panache… with agile bowing and fingerwork, crystal-clear harmonics, pleasing dynamic contrasts and stylish rubato… Baráti phrases Paganini’s Cantabile with disarming charm and ravishing timbre, his intense sound capturing both its passion and repose."

KHACHATURIAN VIOLIN CONCERTO / LONDON PHILHARMONIC ORCHESTRA, COND. ANDRÉS OROZCO-ESTRADA

thelatest.co.uk, March 2016

"Khachaturian’s Violin Concerto served as a showcase for Kristóf Baráti, whose dashing, lively phrasing brought a somewhat frilly piece to life. His sheer determinism, dexterity, and steely gaze brought a sense of flair and panache to the evening that was invigorating, almost salubrious even."

Khachaturian Violin Concerto / London Philharmonic Orchestra, cond. Andrés Orozco-Estrada

Classicalsource.com, February 2016

"Kristóf Baráti proved to be a quite superlative interpreter, delivering an account which was notable for sustained fast speeds – but not so fast as to obscure the virtuosic writing or lower the Concerto’s unique qualities – and, by so doing, revealing the range of Khachaturian’s teeming invention…. Baráti’s performance was wholly exceptional. For a well-merited encore Baráti offered a reflective movement from a J. S. Bach Partita."

Recording: The Soul of Lady Harmsworth / Gábor Farkas, piano / Hungaroton

Gramophone, January 2016

"“For those who like to hear the violin played at its sweet and acrobatic best, then Baráti is out of the top drawer… With intensity of sound, unbridled athleticism and, when needed, searing leaps into the stratosphere that send a tingle down the spine.”"

Carnegie Hall recital / Ysaÿe, Bach, Bartók

Violinist.com, February 2015

"Barati’s playing is flawless… For his Carnegie Hall debut, Barati presented a whole program of works for solo violin… The least we can say is that he did not choose the easy way. What he did was brave, humble, different, I would say spectacular… the most beautiful tribute to the violin itself."

The Phillips Collection recital, Washington DC / Ysaÿe, Bach, Bartók

The Washington Post, January 2015

"Rather than tossing off [Ysaÿe] as mere appetizers, Baráti probed into them with extraordinary intensity and an almost orchestral range of expression. Virtually motionless, eyes closed to the world, he seemed to immerse himself in the sonatas as much as play them — a self-effacing lack of showmanship that let the music emerge with unexpected power.
Baráti’s reading of Bach […] was nothing less than revelatory… Baráti’s performance was, in a word, masterful. Probing, austere, meditative, it rang with a rare sense of authenticity and almost majestic scope."

Orquesta Sinfónica del Principado de Asturias / David Lockington / Dvořák

La Nueva Espana, January 2014

"Barati played superlatively right from the opening wonderful Allegro; marvellously singing in the Adagio, and thrilling in the closing Allegro."

Ysaÿe: Solo Sonatas / Brilliant Classics

Arkiv Music, August 2013

"Like so many of the young violin lions of today, he has a blazing technique, but unlike most such players he is able to modify his phrasing to match the mood of the music and bring out much more than a surface reading… the combination of passion and rigorous intellectual structure exhibited by Baráti is irresistible."

Beethoven: Complete Violin Sonatas / Brilliant Classics / Klara Wurtz, piano

Arkiv Music, October 2012

"Baráti is something different; he’s of an order of magnitude greater than any player I’ve encountered in at least the last 10 years. Even as I write this, I realize that to dwell on Baráti’s technical perfection—his cleanness of articulation and dead-center intonation, the buttery beauty of tone he draws from his 1703 “Lady Harmsworth” Strad, and his rhythmic accuracy, so precise you could set the earth’s atomic clock by it—is to focus on but the surface of his artistry."

Miami Symphony / Eduardo Marturet / Mozart Violin Concerto No.3

South Florida Classical Review, February 2011

"Barati brought rhythmic bite and character to every bar. His silken tone and songful phrasing spun the Adagio into the most sublime interlude between the gutsy opening Allegro and a Rondo that mixed vigorous bravura with aristocratic understatement. Barati offered a dazzling cadenza in the first movement, dashed off with élan. Clearly an expressive and probing musician, Barati is an artist to watch."

J.S. Bach: The Six Sonatas & Partitas for Solo Violin / Berlin Classics 0016732BC

Audiophile Audition, November 2010

"Spectacular effects prevail, Barati’s double or multiple stopping and jabbed accents constantly injecting a delightfully disturbed intensity into our preconceived notions of Bach’s chordal writing. A magisterial achievement in violin performance and recording, and a clear candidate for any devotee’s Best of the Year List."