“...among the most scholarly, thoroughly documented, reference-cited, and footnoted... CD booklet I’ve seen... ...in the Mozart, composed in 1785, she glimpses in her reading the swirling minor-key episodes that would come two years later in Don Giovanni. In other words, Vitkauskaite grasps, appreciates, and projects the operatic element in the concerto’s music... While personal longtime favorites in Mozart’s piano concertos have been Alfred Brendel with Neville Marriner and the Academy of St. Martin in the Fields, Murray Perahia with the English Chamber Orchestra, and Robert Casadesus with Szell in a mix of recordings, some with the Cleveland Orchestra, some with the Columbia Symphony Orchestra, I find that Vitkauskaite’s way with Mozart’s No. 20 is every bit as probing, dramatic, and satisfying as those named above... ... [Vitkauskaite] brings [several] distinctions to her performance of the Beethoven, chief among which—as I noted in a review of her solo debut album in 38:2—are her penetrating musical insight and her ability to commune with the composer and her audience in a way that feels conversational... Beyond Vitkauskaite’s playing, which, by all measures, attains the highest degrees of both technical finish and interpretive integrity, what adds immeasurably to these performances and makes them special is the leadership from the podium of Jonathan Cohler. Whether with the Franz Liszt Chamber Orchestra in the Mozart or the Anima Musicae Chamber Orchestra in the Beethoven, Cohler sees his role and that of the orchestra in these works not as accompanists, but as partners fully engaged in an equal and balanced dialogue with the soloist... Regardless of how many recordings of these two concertos you already have on your shelf, I’d strongly urge you to make room for this one. ”