“A virtuoso a reminiscent of Sergei Rachmaninoff <…> the music world is taking notice of this extraordinary artist, who combines the power of Martha Argerich with the tonal sensibility of Mikhail Pletnev – the latter was also her teacher <…> it is fascinating how she manages to give each voice in a complex interweaving of multiple voices its own colour and intensity. At times, it is as if one is hearing an ensemble of different instruments, such as in the beautiful Prelude Op. 32 No. 5 which, under Chochieva’s hands, seems to transform into a nostalgic flute elegy over a gentle harp accompaniment. This ability to differentiate timbres also benefits her in the “Corelli Variations,” where she sometimes suggests the tonal intimacy of a trio, at other times the monumentality of a symphony orchestra.”
– Morgenpost, Mario-Felix Vogt

“A game of life and death. <…> She plays freely in the melancholic and suspenseful F-sharp minor of Op. 23 No. 1, spins delicate reveries in the major key pieces, and approaches the swirling C minor piece, foaming in intricate passagework, with more of a mysterious veiled quality than – as is often heard – bluff virtuosity. In doing so, Chochieva creates space for infinite crescendos, with ever more clarity and intensity of expression, despite the small size of the concert hall and the imposing grand piano. <…> As for the encores, the No. 6 from the “Études-Tableaux” Op. 39, referred to by Rachmaninoff himself as “Little Red Riding Hood and the Wolf,” becomes a game of life and death, flight and fatigue, the likes of which have never been heard before.”
– Tagesspiegel, Isabel Herzfeld

Photo: Uwe Arens