. . . [this set] makes available some hard-to-find discs, and it showcases a major talent at her best . . . The Tchaikovsky sounds stunning from a technical perspective . . . the Sibelius responds very well to the violinist's unique temperament, and still counts among the finer versions around. The 1985 sound remains equally impressive . . . [Brahms]: Mullova is again very good . . . the 1992 recording captures the violinist and Abbado's Philharmonic faithfully . . . the live setting does coax some genuine virtuoso fireworks, and the Berlin players certainly give one of their finer efforts in a work they always did quite well . . . [disc 3]: a team that does modern music better than anybody . . . Mullova is so compelling an artist that you would expect this to be excellent. It is. The Stravinsky finds the soloist downplaying some of the folksy lightness of some readings to give a rendition of unusual seriousness and purpose. This gives the inner Arias a brooding, highly-charged feel, complimented by some tremendous playing from the Philharmonic. The finale is dispatched with ease . . . In the Bartók, Mullova and Salonen give us a reference edition. The Los Angeles players outdo themselves . . . [Mullova's] approach is quite valid and works to icy perfection. Salonen conducts masterfully . . . everything is well-caught. A bargain, and a great introduction to a highly individual artist.