“Mintz was technically brilliant, showing off his exquisite left hand technique... After an avalanche of Violin's Most Scary Techniques,
... delivered with flawless intonation, over extreme terrain, I knew that I had witnessed one of the most memorable performances of my life..”
"One and multiple, Shlomo Mintz collects the legacy of the six predecessors (Szigeti, Thibaud, Enescu, Kreisler, Crickboom, Quiroga) and the demiurge Ysaÿe. He works deeply on the text, with a philological emphasis in the comparison between sources, manuscripts and versions but also with artist's freedom in selecting the solutions that best distill his reading of the Sonatas, with the spirit of a deep and sincere homage. The summa of an artistic thought declined in the dedication to six violinists, returns in the bow of a single interpreter to investigate that thought, its unity, and its multiplicity.
That Mintz is one of the greatest living violinists is not a mystery, but even more of the impeccable technique, of the absolute domination of sound and intonation, it makes the capacity to unravel a text like this in unity and multiplicity, to disguise the hidden melody, the echo of Bach and the specter of the unknown future always maintain a recognizable identity of interpreter and creator which follows the technique of creation of a single thought."
The Straits Times
"Live performances of Ysaye are often limited to single sonatas or shorter single-movement sonatas (notably Sonata Nos. 3 and 6) as encores.
To hear all six sonatas in a single sitting was a rare and unusual luxury, so amply illustrated by Russia-born Israeli violinist Shlomo Mintz, presently the Artist-in-Residence of the Singapore International Violin Competition 2018 and Ong Teng Cheong Professor of Music.
Those who remember his Deutsche Grammophon recordings of solo Bach and Paganini will be pleased that he has lost none of the phenomenal technique, tonal lustre and impeccable musicianship that distinguished those albums.
Without pomp or ceremony, Mintz emerged from the wings and played as if his entire existence depended on it."
Chang Tou Liang
photo © Marcin Szpądrowski
Shlomo Mintz at the XII Huberman Violin Festival Opening Concert
"Shlomo Mintz, the star of the festival's opening ceremony, who was once a student of Isaac Stern, and who is today mentor to many talented violinists, conductor of world's most famous orchestras, as well as composer and —above all— violin virtuoso, did not look like a revolutionary either.
Sporting unassuming attire, the mature gentleman began the meeting with the Częstochowa audience with Wieniawski's opus 22, the Concerto No. 2 in D minor. Focussed, he played without striking flamboyant poses or showing off: as if playing for himself, for his own pleasure of communing with music.
Perhaps, at this point, quite a few music lovers in the audience pondered what the "Seasons" would be like. After all, for years, ostentatious performance of the piece has been a must: the violinist is supposed to overwhelm, and the orchestra is supposed to follow suit.
Here, nothing seemed to herald any fireworks, though, as the intermission had significantly trimmed the number of musicians on stage. Even the conductor had gone, his part left to the soloist.
And so it began. Unhurriedly, calmly, somewhat quietly... and stunningly precisely. It felt like a laser cutting in silence a seemingly straight line, which nevertheless was full of Baroque embellishments. Mintz's violin did not dart at breakneck speed, nor pushed itself to the forefront. Instead, it simply chatted to this or that musician... The harpsichord whispered from the back, the cello muttered from the side - all in perfect, nay, cosmic harmony. As a matter of fact, what we listened to was not a soloist cast against the backdrop of an orchestra, but a group of soloists rolled into one.
When the audience regained their breath, their standing ovation was rewarded with two encores."
September 2018, Częstochowa (Poland)
"When the Cleveland Orchestra performed, soloist Shlomo Mintz played notes that literally cried out for the silenced ..."
CBS News (America)
"The sound Shlomo Mintz channeled in Beethoven's Violin Concerto, was beautiful, precise and polished and couldn’t be faulted from the deepest to the highest of notes. The soloing was noble, never gratuitously showy and always alert to the orchestra.
Had the concert hall’s roof caved in, there was such gravitas in Mintz’ brilliant delivery, the magnificence of his singing violin would have continued.."
Limelight Magazine (Australia)
“A wonderful sound. The violin of Shlomo Mintz sounded yesterday as rarely happens in the auditorium Prince Felipe de Oviedo.
On top of that Mintz simultaneously conducted two of the three works in the program… Resounding success ... What else to say to the awesome encores "Obsession" Sonata No. 2 Ysayë or the excellent cadence in Vieuxtemps Concerto”
""And though it's a fact that his technique was impeccable, his violin playing went far beyond mere appreciation, far beyond a performance which someone could simply call beautiful, well done or something like that. Shlomo Mintz's interpretation of Sibelius' Concerto was transparent, clear, never shallow or impersonal, tremendously emotional at times and so deeply committed that it lifted everyone to a higher dimension.
Proceso Magazine (México)
"Equipped with only his violin and Paganini’s Caprice No.24, Mintz blew us away with a magnanimous onslaught of violin technique... By the time interval began we were left breathless, wondering how we could ever listen to a violin in the same way again."
Mustapha Hendricks & Lutz Manzelmann (South Africa)