Percussive Prokofiev and titanic Shostakovich from Levit and Sternath

Por Mark Pullinger, 05 abril 2025

Descargando, espere, por favor...

Ver la programación

“huge credit to Sternath for not treating it like an Olympic sprint”

Crítica hecha desde Wigmore Hall, Londres el 4 abril 2025

Prokofiev, Sonata para piano núm. 9 en do mayor, Op.103

Prokofiev, Sonata para piano núm. 7 en si bemol mayor, Op.83

Shostakovich, Sinfonía núm. 10 en mi menor, op. 93 (trans. Shostakovich)

Igor Levit, Piano

Lukas Sternath, Piano

Igor Levit und Budapest Festival Orchestra: ein Fest für Prokofjew

Sebastian Urmoneit, 24th March

Mit dem Dritten stand wohl das bekannteste Klavierkonzert Prokofjews im Mittelpunkt, eingerahmt von zwei glänzenden Orchesterstücken.

****1

Igor Levit brings Beethoven and Rzewski to Carnegie Hall

Kurt Gottschalk, 22nd January

Levit introduced the theme at such a clip that one couldn't help but worry about the marathon of musculature he had in front of him, but he persevered, playing with a precision that was almost alarming.

*****

L’intrigant chant intérieur d’Igor Levit au TCE

Pierre Michel, 9th October

Si le pianiste trouve une sorte d’idéal de beauté intime qui convient très bien à certains aspects de son grand programme romantique, d'autres aspects de son jeu laissent perplexe...

***11

Tremendous energy and engagement from Igor Levit at Wigmore Hall

Patrick Maxwell, 22nd September

Igor Levit brings a well-considered programme of Schubert, Schumann and Chopin to London in a performance of commitment and subtlety.

****1

Bis ins kleinste Detail: Joana Mallwitz und Igor Levit in Berlin

Sebastian Urmoneit, 27th June

Joana Mallwitz malt mit ihrem Konzerthausorchester musikalische Bilder von Haydn, Bartók und Strawinsky.

****1

Budapest Festival Orchestra sprinkles fairydust over London

Roy Westbrook, 11th March

Story time with Uncle Iván as the BFO plays music from the ballet Cinderella to crown an all-Prokofiev evening.

****1

Más críticas...

Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.

Percussive Prokofiev and titanic Shostakovich from Igor Levit and Lukas Sternath