Press

“A brilliant musician and a perfect master – “Russian Paganini!”
Frankfurter Rundschau

“Violinist Maxim Fedotov was radiated with virtuosity. Perhaps, Paganini played in this way, or might wish to be in his place.”
Leipziger Volkszeitung

“His charisma will be enough for a dozen conductors.”
Music and Time

“…Fedotov, genuine successor of Joachim, Auer, Kreisler.”
Midi Libre

“Fedotov’s playing … is full-blooded in sound and passionately committed, at the same time clinically judged in clean intonation and phrasing, nevertheless the famous Adagio in the G minor concerto should bring a tear to the eye. He clearly loves Bruch’s music.”
MusicWeb International

“Though Maxim Fedotov’s highly expressive account of Bruch’s First Violin Concerto would stand comparison with any in a catalogue bulging with high-profile performances… Fedotov plays all three works with that typical Russian intensity created by a wide and potent vibrato that brings warmth to a leisurely view of the central movement of the concerto. He does smooth out some of the dynamics, but thankfully resists the now-customary dash through the finale of that work, and the pages of double-stopping are played with impeccable intonation.”
The Strad

“Only a real musician who has the whole set of expressive performing means can play the way as he played at the concert. From the finest most delicate shades of sound to powerful, practically “cello” sounding of violin, from calm harmonious strictly logical sounding to the most passionate, emotional, as we might say “devilish” tones, and all these are conceptually reconciled, are in a harmonious unity with the orchestra sounding. It is worth mentioning that Maxim Fedotov played with “colored” sound. It is extremely rare skill among string instrument performers.”
Komsomolskaya Pravda

“Russian Paganini”, as he is called by European press, was at his best and the hall, ignoring the polite radio reminder that “between the movements no applauds are accepted,” broke down and gave the Maestro a standing ovation in the tiny gap between the first Allegro and Andante.”
Russia

“…The brilliant performance of Maxim Fedotov was accompanied by brilliant piano mastery of Galina Petrova. Bright talent of the pianist, impeccable sense of chamber ensemble, which, by the way, was acquired long ago, noble non-compliance in a tense music dialogue –all led to mature perfection in the performance of masterpieces by Beethoven and Mussorgsky.”
Kazakhstan Pravda