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FABIO GRASSO: Concert
Reviews (for
CD Reviews see Discography)
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READ NEW YORK TIMES and MUSICAL AMERICA REVIEWS 2010
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RECENT REVIEWS in English translation – LEGGI LA VERSIONE
ITALIANA
«...This young Italian pianist with very refined sensibility offered us
an interpretation of two Debussy’s Préludes ...
in which his touch worked wonders ...» (Pierre Petit, Le Figaro,
2/6/1996)
«...It is surprising to listen to a pianism that is surely virtuoso, but
also so deep and generous. He’s certainly cerebral, but his playing reveals a
true musical sensibility.» (Michelle Worms, La lettre du musicien: musiques, Nov.
1998)
«...To begin a
recital by Stockhausen’s Klavierstück XI and to end it by Schumann’s Symphonic
Etudes is a proof of a certain boldness ... The demonstration was probative.
Between Stockhausen and Schumann Busoni assured a transition of dazzling evidence.
Wonderful sound, masterly nuances revealing the intelligence of the artist who
knows the deep meaning of the works and highlights their architecture: these
qualities are typical of an extraordinary interpreter.» (Jean
Roy, Le Monde de
«...This virtuoso
pianist claims everyone’s attention especially for the variety of his timbre,
the concentration of his playing and his way to highlight the musical
architectures – this last quality was particularly perceptible in Schumann’s
Symphonic Etudes.» (Paris 17/10/1998 AFP YB/dpn)
«...Certainly not
all pianists can master the monumental Beethoven’s “Hammerklavier” Sonata op.
106 and exalt its majesty, its depth, its poetry, like Fabio Grasso...» (Nice
matin, 28/10/1996)
« …
With its subtle language, its wise dissonances, its misty low tones and its
high – sometimes striking notes, its skilful nuances in the resonances, Fabio
Grasso’s La danza segreta di Maeve is surely a contemporary page of great
worth! … In Schumann’s Carnaval Fabio Grasso reveals himself as an
all-round artist, who excellently exalts the colourfulness of this piece, but
is also careful to its inmost confessions. From a continuous, refined work on
the nuances, the atmospheres and the contrasts arises an interpretation that is
always charming!» (Denis Lustenberger, Les dernières nouvelles d’Alsace,
13/7/2000)
«… The sound of Fabio Grasso becomes water, air, light, pure colour in a
cognitive tension towards the Absolute … The first performance of his piece
Blumentraum was particularly suggestive: the oneiric reflections, inspired by
Jean Paul and Schumann’s poetics, create a personal world where some
expressionist echoes, as well as Freudian intuitions and reminiscences of the
impressionistic symbplism blend giving
rise to a suspended sound, without gravitational centres, and animated by
sudden, everchanging, vibrating motions» (Letizia Michielon, Il Gazzettino di
Venezia, 4/7/2006).
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READ NEW YORK TIMES and MUSICAL AMERICA REVIEWS 2010
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