'One of Europe’s most recognized and accomplished violinists'

'In every track, Birringer solidifies her rising stardom as one of Europe’s most recognized and accomplished violinists. [...] That Birringer excels in both pieces, in both a capacity for high emotionality and strong technical mastery, speaks again to her prowess as a performer and the well-deserved recognition she has recently received.'

Fanfare, Nov/Dec 2022

'Stylish virtuosity from Lea Birringer'

'Birringer makes an eloquent case for these rarely heard and little-recorded works. Her tone is rich and focused, and her full deployment of a range of portamento and rubato testify to her intuitive identification with this music. [...] The Mendelssohn is sure to dominate Birringer’s concerto engagements but it’s a pleasure to make the acquaintance of the unfamiliar Sinding works in such committed and satisfying performances here.'

The Strad, July 2022

'From every angle this is a concerto debut worthy of your time'

'It’s not just Birringer’s programming that stands out, though. Beyond an attractively silky delivery, running by turns with liquid coolness or with sweeter or darker warmth, her readings strike for a gently expressive palette that feels, in the best possible way, decidedly old-world. For instance, one of the hallmarks of her Mendelssohn first movement is the amount of rubato, and the naturalness and rhythmic command with which she metes it out, genuinely both stealing time and giving back. Perhaps even more striking, though, is her array of portamento types, whether employed for specific effect or as a means simply of connecting two legato notes. For examples of both, head to her soulful central Andante in the Sinding Concerto; after which you could head to the recordings of Mendelssohn’s and Brahms’s friend Joseph Joachim to hear how the subtlety of Birringer’s slides isn’t entirely dissimilar to his own.'

Gramophone, July 2022

'Intensity and a sense of the ebb and flow of the music'

'The most effective of the three [Sinding] movements is the central Andante [...] It also brings out the best in Lea Birringer, who plays with intensity and a sense of the ebb and flow of the music [...]'

BBC Music Magazine, July 2022

'Violinist Lea Birringer’s performance of the Christian Sinding selections are impressive'

'The involved solo line is dispatched with sweetness and clarity, Birringer knowing just how to shape each phrase and color each turn. She’s most impressive over the last two movements, spinning the second’s long-flowing melodic lines with effortless beauty while flexibly articulating the finale’s playful turns.'

The Arts Fuse, 14 May 2022

'A musical treat full of expressive beauty'

'The bright, appealing sound of her violin, the fine feeling for the essential and the extraordinary virtuosity and ability to shape the music reveal in Lea Birringer an interpreter with a great future and also make her interpretation of Sinding’s Romance a musical treat full of expressive beauty. [...] Above all, it is the joy of interpretation that immediately captivates the listener. The slender bowing and the often spontaneously lively playing give the impression of attending a live concert. The violinist’s stupendous technique allows her a virtuosity that is never an end in itself, but is entirely devoted to the music’s playful expression.'

Pizzicato Magazine, 28 April 2022

'Dramatic sensibility'

'It’s a treat to hear this artist tackle Mendelssohn’s more familiar work juxtaposed with the Sinding, which provides an opportunity to compare her interpretation with that of so many others. From her opening notes in the opening Allegro molto appassionato, it becomes immediately clear that Birringer means business, performing with passionate zeal. Her rubato is particularly effective, while the Andante displays greater sensitivity, with her instrument scaling the uppermost heights. [...] The work ends with the sprightly finale, Allegretto non troppo, providing one last burst of bravura by this artist from whom we undoubtedly will be hearing much more from in future.'

Winnipeg Free Press, 31 March 2022