Denis Matsuev

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MATSUEV EXPLOSE LA PHILHARMONIE

Entrons maintenant dans le vif du sujet : le concert du 21 novembre 2016. Trois concertos de Prokofiev. Le numéro un fut exécuté par George Li, américain de 21 ans, dans une interprétation délicate et aboutie suivie d’un bis bien mérité, parfaitement choisi pour mettre en valeur toute la musicalité d’un interprète devant qui s’ouvre une glorieuse carrière. Le numéro trois échut à Alexander Malofeev, russe de 15 ans, qui fit preuve d’une grande maturité, de brio et de belles subtilités. Il nous offrit un bis qui permit à ses qualités d’élégance et fluidité de s’épanouir plus particulièrement. Un garçon de cet âge, qui peut en remontrer à des pianistes plus âgés, plus aguerris, voilà qui s’appelle un prodige. Il a été récompensé cette année au nouveau concours international Grand Piano de Moscou. Nul doute que toutes les capitales des divers continents lui fassent des offres de plus en plus alléchantes.

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Too Much Matsuev Is Wonderful

It’s doubtful anyone could have wanted more from Denis Matsuev, who played to a full house in Jordan Hall on Saturday Night. A few might have, in rare moments, wanted less. But that’s quibbling. Matsuev’s near superhuman piano playing allows him to do as he wishes at the keyboard, and almost all that he wishes to do is in greater service of great music, making this music fresh and exciting.

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Pianist dazzles in Strathmore recital

Prokofiev does not go easy on the soloist in his Piano Sonata No. 7. Turning on a dime from brooding introspection to full-frontal assault, the piece demands a pianist who can forge a cogent path through the wild swings of emotion. Denis Matsuev, at his Strathmore recital Sunday, showed just the right temperament to honor the sonata’s bipolar moods, offering a cool, tension-filled beauty in the lyrical pages, and pounding home the relentlessly percussive final movement to thrilling effect.

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TCHAIKOVSKY COMPETITION WINNER DENIS MATSUEV TRIUMPHS IN A WIDE-RANGING RECITAL

After winning the 11th Tchaikovsky Piano Competition in 1998, Denis Matsuev has been sought out for many high-profile concerts featuring the Tchaikovsky, Rachmaninoff and Prokofiev concertos where his sheer power and bravura can be brilliantly exhibited. Nonetheless, many of us have been patiently waiting to hear his artistry put to work in more varied repertoire.  This recital fully answered the call: it featured three major piano works, ranging from Beethoven and Schumann to Prokofiev, alongside smaller pieces. Overall, it turned out to be a tremendous success, revealing more clearly the artist’s cogent sense of line and contrast, his subtle perception of beauty, and the range of his delicate playing – to set alongside his well-known strength and tonal charisma. Perhaps expectedly, his Prokofiev Seventh Sonata was formidable, one of the best performances I have heard in recent years.

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Festival Music review: Russian National Orchestra, Usher Hall, Edinburgh

five stars

THE details of the venue at the back of the EIF's Usher Hall programmes need a small amendment. As well as boasting a fine organ, the hall now has three, rather than two, Steinway grand pianos. On Sunday night the new number one instrument was wheeled centre-stage for the first time, for the attention of pianist Denis Matsuev. The Siberian winner of the 1998 International Tchaikovsky Competition proceeded to give it the mother of all baptisms with an account of Tchaikovsky's Piano Concerto No 1 that everyone present will recall for a long time. The Spinal Tap-inspired interval joke was that this keyboard "goes up to eleven". 

It was not just volume that Matsuev produced from the new concert grand, however. In his hands its bright, sparkling sound transmitted every note on of the lightning-fast passages as well as those huge famous opening chords and the sort of power that gave the trombone section of the Russian National Orchestra serious competition. It was the performance of a showman, certainly, but with real musical intensity and attention to detail as well.

Nor was Matsuev quite finished with his demonstration. By way of two encores he demonstrated that the piano could sound as delicate as a musical box and then took us all to a jazz club with a virtuosic improvisation including themes by Ellington and Gershwin.


Keith Bruce, Arts Editor
Herald Scotland

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MATSUEV: LE LION D’IRKOUTSK DÉPLOIE SES AILES DE GÉANT SUR MONTPELLIER

Denis Matsuev, Valery Gergiev, et le National Youth Orchestra-USA, débarquaient à Montpellier ce 21 juillet 2016. Ils arrivaient d’Amsterdam où ils avaient joué la veille, captés remarquablement ꟷles images et le sonꟷ par Medici.TV, et retransmis en direct sur internet. L’avion s’était posé le matin même sous une pluie biblique. Raccord prévu dans la salle, notamment pour que France Musique puisse effectuer un test sonore avant la radiodiffusion du concert le soir même. Un seul programme, certes, mais le lendemain d’une réussite, un relâchement de concentration se produit souvent, et puis dans ce cas, la fatigue du voyage vient ralentir les réflexes, disperser l’exigence, tout cela sans parler des effets du changement de zone climatique... Ensuite, après une seule nuit de repos, il faudra rassembler les bagages pour Copenhague où le surlendemain le public attendra toute la fraîcheur et l’enthousiasme qui lui est dû. Le jour suivant : Prague. Cette dernière prestation clôturera la tournée. On voit clairement que des qualités de récupération hors pair dans l’entraînement quotidien d’un sportif de haut niveau, sont requises pour cette vie de bohème.

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Bachtrack review on Denis Matsuev and Yuri Temirkanov concert

Rachmaninov’s Piano Concerto no. 3 in D minor is indeed the non plus ultra of the Romantic repertoire, famously difficult and never failing to impress. It begins unassumingly, however, with a theme in the piano likely of Russian monastic origin, to which Temirkanov’s batonless conducting provided a supple, keenly judged accompaniment. The piano writing gets very difficult very quickly, but under Matsuev’s big-boned playing, even the most severe challenges were brushed off with ease and aplomb. Projection was never an issue for him either, as he effortlessly overpowered the orchestra – there was really no contest.

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Excerpts from reviews of performances of Denis Matsuev in Chicago with Yuri Temirkanov, the Symphony Orchestra of the Baltimore and Chicago Symphony Orchestra

Chicago Tribune

No one denies that Matsuev commands as huge a technical arsenal as any pianist on the planet, or that he can vanquish Rachmaninov's most daunting keyboard writing with a nonchalant shrug. The crowd adored his virtuoso prowess…


Chicago Classical Review

Rachmaninoff’s Piano Concerto No. 3 took up the first half of the evening—a rare occurrence since the beloved keyboard showpiece invariably winds up hard to top.

Matsuev’s technical arsenal is as complete as any pianist currently before the public yet the opening minutes of Thursday’s performance were so restrained as to seem almost offhand. Matsuev clearly sees the cadenza as the climax of the first movement–the “point” as Rachmaninoff called it–and his full-metal assault on the longer cadenza was explosive in its power and massive bravura.

The soloist brought stoic elegance to the main theme of the Intermezzo as well as a wry vivacity to the scherzando middle section. The solo burst that launches the finale was daunting in its fire and attack. Others have plumbed more light and shade in the concluding movement but Matsuev’s relentless buildup of momentum and sonority was undeniably thrilling, accelerating to a thunderous and virtuosic coda.

Matsuev earned one of the longest and most rousing ovations of the season with repeated curtain calls. Finally, he relented with an encore of Liadov’s A Musical Snuffbox, teasing out the music box delicacy with gentle charm and a deliciously halting rubato.


Baltimore Sun

The pianist, in an overdue visit 12 years after his last appearance with the BSO, made child's play of the score's ferocious technical demands and used the leftover energy to add welcome expressive nuance. There was an organic, inevitable quality to Matsuev's playing, which was warm-hearted without turning sentimental.


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Matsuev, il veemente sincero

L’Accademia di Santa Cecilia ospita nuovamente un recital del talentuosissimo russo Denis Matsuev. Non l’ascoltavamo dal marzo del 2014. Torna oggi proponendoci un programma simile all’ultimo. Figurano ancora Čajkovskij e Rachmaninov; ci ripropone, anche, il primo Mephisto-Walzer di Liszt, suo cavallo di battaglia. Unica incursione stricto sensu romantica è la Kreisleriana di Schumann. Una marea di bis concludono un’eccellente serata di musica, coi fuochi d’artificio, alla maniera di Matsuev.

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Les délices et délires de l’excès

Denis Matsuev est un pianiste sans équivalent sur la planète et, même, avec peu d’équivalents dans l’histoire du piano. Il combine une facilité technique qui défie l’entendement, un vrai sens du son et, cerise sur le gâteau, une âme — cette âme russe que l’on ne peut définir sans la caricaturer, mais qui combine générosité, démonstrativité et débordements.

Matsuev, c’est l’artiste sans limites et quand cela fait « splash », on s’en moque parce qu’il est comme ça ; il ne joue pas un rôle. J’ai déjà écrit que je n’avais connu qu’un seul artiste comparable : Evgueni Svetlanov. Svetlanov était le chef de l’inouï, Matsuev est le pianiste de l’invraisemblable.

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