Not everyone is gifted enough to play all of Chopin’s etudes in such seemingly careless succession. Not even Arthur Rubinstein, who had astonishing technical ease, dared to do so. For Zlata Chochieva, however, it seems like child’s play.<…> Nr. 5 [op. 25] was much as Lipatti played it: the singing of the middle movement like the sun in a pond under an infinite prism of colours, Nr. 6 the study of thirds, in a word an experience, high school of pianism, No. 7 a deeply felt epic without ego with a gripping climax, and No. 8 like a butterfly, freely dancing on the wind. No. 9 displayed aristocratic mastery reminiscent of Bolet and Cherkassky, with mischievous basses. <…> With two inimitable encores, Medtner’s Canzona Serenata and another black key etude, one of the most beautiful recitals I have ever heard came to an end. A single etude would already have been worth the trip to Brussels…»

— Eric Schoones, Pianist Magazine

04/03/2020

[Chochieva’s] “account of his Piano Concerto No.1, [. . .] was a flawless one of such relaxed mastery that its technical challenges seemed irrelevant. Her firm and precise touch at the keyboard made no attempt to over-sell the tunes, or linger over them, even as the slow central movement unfolded in one beguiling experience.”

• The Herald Scotland, 07/02/2020