The Guardian, January 2016

“Conceived as an unbroken span without pause between movements, it is a curious concerto, technically demanding yet resolutely unshowy. In unsympathetic hands this can be a thankless task, but was thrillingly realized by Alisa Weilerstein, who showed an uncanny ability to approach the notes on the page as if they were a code for unlocking the composer’s precarious state of mind. Few soloists are bold enough to attempt the beginning quite as slowly, or the conclusion quite as fast, as Schumann seemingly intended. Yet Weilerstein brilliantly negotiated the sudden mood swings in which passages of buoyant, breezy confidence collapse into periods of painful introspection.”