Saint Louis Post Dispatch, April 7th 2014 – Robertson and friend provide power and beauty – by Sarah Bryan Miller

[…] Tetzlaff was phenomenal, preforming in a manner that had to be seen as well as heard in order to be believed. His technique is astonishing, as is his stamina, in a work that runs three-quarters of an hour and keeps its soloist hopping for most of the time. […]

The New York Times, 31st March 2014 – A Hungarian Sampler, Lighthearted to Brooding by Vivien Schweitzer

[…] Joachim’s concerto, about 50 minutes long, isn’t as structurally cohesive as the Brahms and Bruch concertos. (He performed both of their premiers.) But it is full of dark-hued melodies and richly scored orchestral interludes, played with bristling fervor by the excellent Orpheus musicians. Mr. Tetzlaff proved charismatic, imbuing his part with a burnished sound and soulful allure and deftly navigating the whirlwind passagework of the “Gypsy” finale. […]

Boston Classical Review, 31st March 2014 – Tetzlaff, Vogt bring illumination and intensity to duo recital by Aaron Keebaugh

[…] Yet this is music of arresting beauty. The whistling tones that Tetzlaff pulled from his violin hovered in midair. Vogt’s scattered chords left harmonics in their wake, the sound circling overhead like a halo. The soaring line of Bewegt, the fourth of the set, died away into brittle tones in a single melodic arch  – compressed romanticism at its finest.The show-stopper of the afternoon was Bartók’s Violin Sonata No. 1, which featured the duo in equally rich and adventurous territory.

[…] Yet this turbulent music breaks frequently into spry themes and passages of warm lyricism. Tetzlaff and Vogt supplied lovely singing tone for the aria and variations of the Adagio. The Scherzo, taken at a brisk pace, had the romp of a Ländler, and their sparkling reading of the finale put the exclamation point on the afternoon’s program. […]

Boston Globe, 01st April 2014 – With Christian Tetzlaff and Lars Vogt, everything sounds bigger and better – by David Weininger

[…] When the violinist Christian Tetzlaff and pianist Lars Vogt reached this passage in their Sunday recital at Jordan Hall, several things happened. Tetzlaff’s tone darkened substantially, the tempo slowed a bit, and he and Vogt expanded the dynamic range, so that each dissonance seemed like a cry of pain. When the music shifted back to the major, it was as though dawn had broken after a long night.

[…] But what was most remarkable was that there was no moment in this entire, familiar, piece that didn’t convey a sense of total creative investment. […]

NZZ Feuilleton vom 17.1.2014 – Unvergesslich

[…] Gewaltige Spannungsbögen zogen sie dann in Sibelius’ Violinkonzert in d-Moll op.47 zusammen mit dem Geiger Christian Tetzlaff, der hier genau weiss, wie weit er gehen kann. Er interpretierte seinen virtuosen Part in der vorgezogenen Solokadenz des Kopfsatzes und im abschliessenden Allegro entspannt und frei, gleichzeitig aber in so sorgfältiger Abstimmung, dass das Zusammenspiel nie litt. Von einer harmonischen Beziehung zwischen Dirigent, Solist und Orchester zeugten die Schlüsse: der trocken abgezogene Viertel mit wirkungsvoller Pause im ersten, das atemberaubende „morendo“ im zweiten und die geladene Schlusssteigerung im dritten Satz. […]

Frankfurter Neue Presse, Andreas Bomba 11. November 2013

[…] Perfekter kann man dieses Konzert nicht spielen. Die Dimensionen, die der Geiger in Richtung piano eröffnet, reichen bis zur Tonlosigkeit. […]

Frankfurter Rundschau online, Wolfgang Heininger 11. November 2013

[…] Und dazu noch ein gut aufgelegter Christian Tetzlaff, der in den Kompositionen versinkt, sich ganz hinein begibt, um unprätentiös wieder daraus hervor zu steigen. […]

The Guardian – by Martin Kettle

[…] But this is a concerto in which the soloist is always the focus of attention, rarely permitted more than few bars of inactivity, and in Christian Tetzlaff it had an authoritative interpreter of he highest class. Whether it was in the long soliloquy lines of the opening movement or the almost hysteria-driven violence of the scherzo, or the hugely demanding solo cadenza between the last two movements, Tetzlaff was equal to all its demands. There are few violinists to match him at the moment. […]

Bergische Morgenpost – Ulrich Mutz

[…] Was Christian Tetzlaff seiner Violine da an schierer Schönheit und Fülle, Vielfalt und Farbigkeit des Klangs abgewann, war auch schlicht Staunen erregend, Intensität und Wohlklang hielten einander wunderbar die Waage: vom Lamento-Anfng des Kopfsatzes bis zur delikaten Beiläufigkeit seiner Coda. […]

Solinger Tageblatt – Klaus Günther

[…]Was Christian Tetzlaff hier besonders in den Kadenzen an geigerischer Bravour zeigte, dem kann man nur mit dem Begriff „Teufelsgeiger“ gerecht werden. […]

Tages-Anzeiger

[…] so hat man Sibelius’ Violinkonzert tatsächlich selten gehört. […] Die Rolle, die ihm Sibelius aufträgt, spielt er perfekt. In leicht vornübergebeugter Haltung kniet er sich buchstäblich in die Musik hinein und geht völlig im „Mysterium Sibelius“ auf. […]