Denis Matsuev

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"Teuflisch virtuos"

Entspannt und ohne Pomp


Jukka-Pekka Saraste stellte den russischen Pianisten Denis Matsuev vor

 

Das jüngste Philharmoniekonzert des WDR Sinfonieorchesters soll­te den Titel „Dämonen“ tragen, passend zu Prokofjews 3. Sinfonie (1928). Doch war der Chefdirigent Jukka-Pekka Saraste vorüberge­hend erkrankt, hatte es an Proben­zeit fiir diese Rarität gefehlt.

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"Liszt and jazz"

Fidelio


Dazzling – this might be the right word to describe Denis Matsuev’s achievement. Listening to the encores was almost intimidating: I had a feeling that the piano may get engulfed in flames at any moment, with Mephisto emerging from it, commanding the artist to stop: “Your contract is up; it’s time for you to come with me”!

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"Beyond perfection"

Zoltán Végső, Élet És Irodalom



The coat of arms of Denis Matsuev’s native Irkutsk features what looks like a lynx, carrying a blood-soaked prey in its mouth. At first glance it symbolises the raw strength of the eternal winner and actually the lynx could be Matsuev himself. You don’t see a burlier, more athletic pianist on stage and our observation is not even overshadowed by his noticeably expanding waistline, compared to last April. Surpassing his mesmerising previous performances, he tried to do the impossible in his forth concert at the Palace of Arts, but it is unimaginable that he can top what he has achieved so far in his future career, which is just as long as his past.

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"Sonograma: Chronique des concerts"

Hector Berlioz  Le Corsaire, op. 21
Piotr. I. Tchaïkovski Concerto pour piano et orchestre n° 2 op. 44
Jean Sibelius Symphonie n° 2, op. 43
Orchestre de Paris
Directeur : Paavo Järvi

Le chef estonien, issu d'une célèbre famille de musiciens, est un fervent défenseur de l'émotion en musique, qu’il estime plus importante que la précision instrumentale.

Chaque geste est une idée musicale, précise et claire. Du pianissimo au fortissimo, Paavo Järvi, le nouveau directeur musical de l'Orchestre de Paris, a su tirer une grande variété de nuances de l’orchestre français.

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"La Stampa"

“…Following the Suite from the Amore, written in America in 1919 in the style of the avantgarde Russian theatre, here we have Prokofiev 3rd Piano Concerto with Denis Matsuev as soloist. He has got the clockwork technical precision and the percussive strength of the great virtuoso, and moreover the delicacy and sense of humor, at times surreal, as suggested by the composer in the delightful central movement. The young Siberian pianist, acclaimed by the audience, greeted the listeners playing an encore by Rachmaninov”

“Virtuosic Hercules at the Steinway”. Pianist Denis Matsuev conquers D?sseldorf

D?sseldorf. How beautiful, that the organizers from the Klavier-Festival Ruhr continuously more often reserve for the highlights of their concert series the venues of D?sseldorf. With the 1975 in Irkutsk born pianist Denis Matsuev in any case a real phenomenon leaped onto the podium of the Robert-Schumann Hall. Liszt’s “Mephisto”-Walz, Horowitz’ “Carmen”-Variations, Stravinsky’s “Petruchka”, no “warhorse” is safe from this man.

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"St Petersburg PO/Temirkanov in Barbican, London"

Conductor Yuri Temirkanov has spent long enough on the podium to know how to give the punters what they want. The programme for his latest visit with his St Petersburg Philharmonic Orchestra ticked the right boxes: a dollop of Russianness, followed by a showstopper and a well loved symphony. If only its delivery has been so reliable.

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"Brahms is given more glower than glow"

St. Petersburg Phil/Temirkanov in BARBICAN
25.11.2005

It can be an interesting prospect when a visiting orchestra brings a repertoire that is not normally considered to be within its core. Brahms from St. Petersburg? He’s mainstream for all orchestras, of course, but it was always going to be worth hearing how the prime Romantic classicist fared in the hands of one of the world’s most volatile collections of musicians, alongside the more familiar exports of their fellow Russians.

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Times Concert: St Petersburg PO/Temirkanov

…At least the soloist in Rachmaninov's Paganini Rhapsody was out to dazzle. Denis Matsuev, like many young Russian pianists, could never be accused of reticence. The Steinway takes a hell of a pounding, even in places where you suspect that Rachmaninov might have wanted the orchestra to be heard. But his technique is phenomenal: blistering passagework, steely chords. Perhaps he is the new Horowitz. His encore, Grigori Ginzburg's outstandingly tasteless but breathtaking transcription of Rossini's Largo al factotum, certainly suggested the same penchant for outrageous showmanship…


Richard Morrison, "Barbican"

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