Tedi Papavrami - Reviews

Due to the copyright restrictions in Germany and Switzerland these are only a few reviews which we are explicitly allowed to use. Unfortunately, for this reason a large number of press reviews may not be used at the moment.

  • The Strad - CD Prokofiev mit Viktoria Mullova

  • “Spontaneous-sounding live Prokofiev whets the appetite for more. [...] The two-violin Sonata achieves the remarkable feat of seeming to come from the instrument of a single player, so well attuned are Mullova and Tedi Papavrami to each other’s playing.” (Matthew Rye, 19.11.15, www.thestrad.com/cpt-reviews/prokofiev-violin-concerto-no-2-in-g-major-op-63-sonata-in-c-major-for-two-violins-op-56-solo-violin-sonata-in-d-major-op-115/)

  • www.musicweb-international.com - CD Live with Viktoria Mullova - Recording of the month

  • “Both violinists are well-matched tonally, and Prokofiev’s sonata op. 56 gives each of them the opportunity to shine. [...] This is an immensely enjoyable release.“ (Stephen Greenbank, 11/15)

  • The New Listener - CD Prokofiev mit Viktoria Mullova

  • „Perfekt durchdacht ist das Allegro con brio von Prokofievs Sonate op. 56, worin Mullova und Papavrami zum genau richtigen Tempo-Klang-Verhältnis ein Finale präsentieren, das bei allem Feuer nie zu schnell und kontrolliert klingt. Das gilt auch für die Episode mit ihren heiklen Arpeggienläufen in der Mitte des Satzes, wo gerade Papavrami sich als exzellenter Musiker erweist.“ (Peter Fröhlich, 10/15)

  • Washington Post - CD Prokofiev with Viktoria Mullova - 4 December 2015

  • “The other two works are also live recordings from the same recital last year, and both admirably well played. The Duo Sonata is the stronger work and here Mullova is joined by a former student, Tedi Papavrami. I can offer no higher praise than the fact that they are often indistinguishable on the recording.” (Robert Battey)

  • Gramophone - CD Saint-Saens, Chausson, Ysaye - Editor's Choice

  • “Tedi Papavrami, while not attempting to sound like Sarasate, adopts something of his graceful manner; his alert, lively approach is just right for conveying the music’s inventive, often improvisatory character.”

  • Fanfare - CD Bach, Bartok

  • “The logic of the whole he’s created overwhelms all the dissonance that might have put off some listeners. And the technical devices Bartók has organized, impressive in themselves, always serve, in Papavrami’s performance, simply to underline this logic. As the haunting atmosphere he explores in the Melodia makes clear, his performance isn’t just one constructed on structural girders, and exludes the movement’s ethnic exoticism. And he relieves the Presto’s buzzing theme with almost ecstatic exclamations. If this isn’t the most riveting performance of the work, I don’t know what is.” (Robert Maxham)

  • The Sunday Times - CD Bach, Bartok

  • “Papavrami's version of Bach’s organ Fantaisie and Fugue, BWV 542, is superb, adding a convincing solo fugue to Bach’s extant three and paralleling Bartok’s second movement. (Bartok’s first shares an opening chord with the Fantaisie.) Both performances are tremendous, as is that of Papavrami’s fine transcription of Bach’s harpsichord suite, BWV 822.”

  • Fanfare - CD Saint-Saens, Chausson, Ysaye

  • “The passagework sounds effortlessly brilliant and the melodies effortlessly piquant. Papavrami produces a tone that many violinists might envy for its transparency on a violin made by Christian Bayon in 2005 with a bow made by Edwin Clement in 2008 - so much for the theory that a great career can be founded only on a great instrument.”

  • The Press Democrat - with the Santa Rosa Symphony and Bruno Ferrandis

  • “Shostakovich’s 1955 Violin Concerto performed by Albanian violinist Tedi Papavrami proved to be the high note of the evening. [...] Out of the gate, the 42-year-old violinist engaged the audience with his silken tone. Despite the relentless pace of the piece and its thorny challenges, he made it all seem effortless. Papavrami brought absolute conviction to the concerto, which starts out dreamily with a Nocturne but kicks into gear in the Scherzo. Like a thoroughbred pulling into the home stretch, he delivered an impressively clean cadenza, linking the lush, expressivity of the Largo to the fun, rhythmic romp of the Allegro finale.”