Preludia - Unofficial website for Rafal Blechacz


Jun 29, 2013

His playing is so vivid, bright and natural...two reviews from Germany and Japan

Rafał Blechacz turns 28 on June 30.  With the deepest thanks to him for fulfilling us with the beauty  and the divine power of music, Sincerely wishing that all his dreams come true.....!

Tweets celebrating his Birthday.

Rafał Blechacz info

Teatro La Fenice

La Música Clásica

Excerpt from a review of the concert at Kölner Philharmonie where Rafał Blechacz played Schumann's piano concerto with the Mahler Chamber Orchestra (MCO), directed by Daniel Harding on May 30,
written by Gunild Lohmann posted on general-anzeiger.

Original review
Conductor Daniel Harding and pianist Rafał Blechacz are ideal partners

"(.....) The modest young man mutates with the first bars of the piano concerto of Robert Schumann to the gifted storyteller. As if he has engaged in this music already for centuries, he plays it so vividly, so bright and naturally that you cannot imagine even having heard it otherwise.

A firm but not overly emphatic execution of the grandiose chords of the opening by the piano – supple rolling of the sixteenth-note quintuplets under the yearning G-string of violins, gentle and transparent dialogue with the clarinet in the Andante espressivo: Blechacz never blurs, everything sounds transparent, driven equally by emotions and insight.

That this A-minor concerto unfolds like this from the beginning is also thanks to the tremendous capacity for dialogue by Daniel Harding and the Mahler Chamber Orchestra (MCO). Especially in the obbligato in the final, the soloist and orchestra are heard exactly superimposed, leading the concerto to a triumphant conclusion (.....)"


Excerpt from another review of the recital that Rafał Blechacz gave at Salle Pleyel on June 13, written by Hiroshi Sankoh, a Japanese journalist living in Paris, posted on Japan Arts website.

Original review

"(.....) (About Chopin)
Because of a pallet of multicolored sounds that he has, expression changes quickly by piece.  First in Nocturne, he whispers with smooth, silky sound without any stickiness, then in Polonaises, he lets us feel the pulse of a bursting passion.  The third Mazurka of opus 63 speaks with a melancholic mood, reminiscent of twilight hour.

When he plays these pieces of different motifs, it is always refreshing that we can hear how he outpours energy hidden in quiet expressions.  It is a distinctive characteristic of his style of noble interpretation that only a pianist who squarely faces music can offer (.....)"

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