New York Classical Review (US), 16 October 2019

Concert review: New York Classical Review (US)

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New York Classical Review

The Philadelphia Orchestra is a visiting attraction when it performs at Carnegie Hall, but the ensemble’s annual appearances have been so well received in recent years that it has come to feel like a cherished local institution-a sense only reinforced now that Yannick Nézet-Séguin, with his concurrent appointments as music director in Philadelphia and at the Metropolitan Opera, has become a local fixture in his own right.

 

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Süddeutsche Zeitung (Germany), 9 October 2019

Concert review: Süddeutsche Zeitung (Germany)

Virtuos und schwerelos

Die Pianistin Hélène Grimaud und das von Dirigent Teodor Currentzis angeführte “Music Aeterna”-Orchester begeistern in München. Ganz in weiß kommt die Pianistin Hélène Grimaud auf die Bühne der Münchner Philharmonie, sie erinnert an eine Sportlerin, und das dann gespielte G-Dur-Konzert von Maurice Ravel wird zu einem spannenden Match zwischen ihr und dem von Dirigent Teodor Currentzis sportlich angeführtem “Music Aeterna”-Orchester aus Perm (Russland).

 

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Bachtrack, 30 September 2019

Concert review: Bachtrack

Hélène Grimaud à l’Opéra de Nice : entre douceur et vivacité

Pour marquer le début de sa nouvelle tournée européenne, Hélène Grimaud a choisi de faire escale au cœur de sa région natale. Originaire d’Aix-en-Provence puis élève au MIDEM de Cannes, la pianiste devenue mondialement célèbre se produit ce soir au côté de l’ Orchestre Philharmonique de Nice dirigé par Lionel Bringuier.

 

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Bachtrack, 22 September 2019

Concert review: Bachtrack

“Grimaud’s assertive sound proved ideal for Bartók’s muscular, discursive piano writing, which the composer set against a surprisingly melodic orchestral foundation. She called attention to subtle influences across the concerto’s three movements, which were played breathlessly as one sustained narrative. The opening Allegretto brimmed with folk textures one might expect to hear, while the gentle Adagio religioso contained echoes of Debussy in its exquisite coloring. The concluding Allegro vivace vibrated with rhythms of jazz and ragtime. Grimaud’s assured approach made every moment of the 30-minute work sound fresh and invigorated, and Nézet-Séguin ideally balanced his forces, with particularly valuable contributions from the flutes and woodwinds.”

La Belle Hélène: Grimaud wows in Bartók with Philadelphia Orchestra

Conductor Yannick Nézet-Séguin and pianist Hélène Grimaud exude an air of genuine affection when they perform together, and Philadelphia audiences have benefited from this special friendship. Although Grimaud made her local debut nearly twenty years ago, her appearances have become more frequent since Nézet-Séguin took over the music directorship in 2012, and she burnishes an already stellar reputation with each successive visit.

 

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Philadelphia Inquirer (US), 20 September 2019

Concert review: Philadelphia Inquirer (US)

“Grimaud was the soloist. The pianist dazzled, as she does so well, in the outer two movements. But it was her tender work and the matched sound of the ensemble that made me want to hear the second movement again.”

Valerie Coleman’s stirring ‘Umoja’ is a Philadelphia Orchestra milestone: The first classical work by a living African American woman that they have performed.

The Philadelphia Orchestra’s program note Thursday night said the concert marked the first time the orchestra had played a work by Valerie Coleman, and that her piece was an orchestra commission and world premiere.

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