Alda Dizdari

Strad Magazine

"This is not the sort of thing I would normally say, but the performance of Debussy's Violin Sonata that opened this programme was the best I've heard by a country mile. Such vivid, imaginative, brilliant playing is rare indeed. Everything about it radiated from a powerful musical and dramatic intelligence that imbued the music with vitality and excitement. In other hands such treatment might have overwhelmed the piece itself, but not here.

Later in the concert, Bartok's Second Sonata received a similar display of visceral musical exposition. Among a clutch of shorter pieces, Alda Dizdari's account of Schoenberg's Phantasy was as persuasive and compelling as the composer could have hoped for. Three pieces by Sibelius - Ballade, Berceuse and The Bells - had substrata of emotional complexity beneath their simple surfaces, and Webern's Four Pieces op.7 were dynamic. The final ponticello phrases held the audience rapt. By the time Dizdari came to Ravel's Sonata to finish the programme, one could almost take her virtuosity for granted. The expressiveness of her bowing was a thing of wonder and the last movement was almost scary, as well as joyful."

Gramophone Magazine


"The Albanian violinist Alda Dizdari, has been featured as Gramophone's "One to Watch" (5/11) and this disc, taken from a Wigmore Hall recital, confirms a remarkable talent [...], it's obvious that Dizdari and Blach are giving their all and not considering possible retakes. The Janáček is truly passionate, rougher than Repin and Lugansky's recent studio recording (DG, 3/11), but this music, I think, actually benefits from moving beyond purely beautiful sounds (Janáček seeks to agree, writing feroce at the start of the finale). 

When not aiming at ferocity, Dizdari's tone is notably rich and expressive - especially in the Part, played with a very modest degree of slowish vibrato. The Hungarian Dances are given with great panache but the highlight of the programme, for me, is the Enescu. In a work that depends so much on performing style, and with such detailed instructions, Dizdari and Blach seem to get both the spirit and the letter just right. I felt sure they must have listened to Enescu's recording with Dinu Lipatti. The opening of the second movement is perhaps not mysterious enough - Dizdari cuts short the rests between her phrases - but the Wigmore audience's cheers at the end show how powerfully communicative the performance had been."