All just my personal opinion
Concert review, ★★★★½, Alexander Ullman @ Lukaskirche, Lucerne, 2019-11-22 (Lucerne Piano Festival, Debut Series) — Franz Liszt: Harmonies poétiques et religieuses, S.173: Nos. 3 (Bénédiction), 7 (Funérailles), 10 (Cantique d’amour); Tchaikovsky: Suite “The Nutcracker”, op.71a (arr. Pletnev); Stravinsky: 3 Movements from “L’oiseau de feu” (arr. Agosti)
Blog post #524 — #rolfsmblog •
Concert review, Nikolai Lugansky, Mikhail Pletnev, Russian National Orchestra @ KKL Lucerne, 2017-11-30 — Rachmaninoff: Piano Concerto No.3 in D minor, op.30; Scriabin: Symphony No.2 in C minor, op.29
Alexander Malofeev, Piano recital at ETH Zurich, 2015-12-22 — Chopin: Scherzo No.1 op.20, No.2 op.31; Liszt: Consolation Nos.2 & 3, Mephisto Waltz, La Campanella; Tchaikowsky: Dumka op.59, Nutcracker; Stravinsky: Le Sacre du Printemps
Natalia Gutman played with rich rubato, exploring the depth, the melodic strength of Dvořák’s composition with her dense, soft and singing tone (…) often, in lyrical passages, the soloist appeared completely immersed into the music, listening and playing with closed eyes (…)
The fourth movement, Allegretto, “Intermezzo interrotto” is rhythmically intricate, playing with Bohemian folk melodies — in typical Bartók / Hungarian manner, the meter is changing almost from bar to bar, leaving western ears “hanging in mid-air”: the orchestra’s playing was very good and appeared almost effortless.
Claire Huangci played the Scarlatti sonatas without interruption, and without repeats — this way, she formed a single piece where it was hard for the listener to recognize transitions from one sonata to the next. It’s an interesting idea…
Rachmaninoff: Piano Concerto No.3, op.30 — comparing recordings with the following artists: Rachmaninoff/Ormandy (1940), Ashkenazy/Previn (1972), Argerich/Chailly (1982), Kocsis/de Waart (1983), Wang/Dudamel (2013)