“Im Freien”
“Chochieva, stylistically convincing in Schumann, here could be taken for a different pianist, so completely does she inhabit Ravel’s sound world. <…> Disc 2 begins with two of Liszt’s most technically challenging Transcendental Etudes (tone poems in all but name). Both of them leap off the page in Chochieva’s hands with fabulous left-hand articulation, tonal colouring and sheer pianistic relish. <…> Altogether a terrific programme from a greatly gifted pianist.”
– Gramophone, Jeremy Nicholas 
Editor’s choice
June 2023

“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 “Etudes-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

“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.”
– Berliner Morgenpost, Mario-Felix Vogt

‘Chiaroscuro’ Album
“Just witness the last forte chord of Mozart’s Duport Variations in D, the short silence, and the little turn that begins the first of Scriabin’s Preludes, op. 15. This is one of the most magical moments in the recital, as it only becomes apparent that composers and styles have switched a couple of seconds into the Scriabin piece-a seamless transition that reveals the light from the dark. <…> If one doesn’t believe that Mozart and Scriabin go together- I certainly didn’t at first!- then go out and grab this disc, put it on, and be astonished for an hour and a quarter.”
– Scott Noriega, FANFARE
January/February 2023