Ingrid Fliter's Chopin impresses at the London Piano Festival

Por Roy Westbrook, 11 octubre 2025

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“Fliter’s performance... offered an ideal union of creative and re-creative art”

Crítica hecha desde Kings Place: Hall One, Londres el 10 octubre 2025

Beethoven, Sonata para piano núm. 18 en mi bemol mayor "La caza", Op. 31 núm. 3

Beethoven, Sonata para piano núm. 7 en re mayor, Op.10 núm. 3

Chopin, Nocturno núm 3 en si mayor, op. 9 núm. 3

Chopin, Sonata para piano núm. 3 en si menor, op. 58

Ingrid Fliter, Piano

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Romina De Carli, 16th January

El primer tercio del siglo XX fue el más vanguardista e innovador de toda la centuria. La música no podía quedarse fuera de esta breve pero intensa oleada: algo que quedó patente en el Baluarte el pasado 16 de enero.

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Singapore Symphony’s game of two halves

Chang Tou Liang, 25th October

Mendelssohn's A Midsummer Night's Dream and Beethoven's Third Piano Concerto make an odd couple in Singapore.

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Ingrid Fliter inspires awe in Singapore debut

Chang Tou Liang, 11th June

The Singapore International Piano Festival returns with an impressive show of keyboard mastery by the Argentinian pianist.

*****

RSNO's Mahler cycle continues with the Sixth

Simon Thompson, 10th May

Søndergård’s all-consuming Mahler dwarfs some delightful Mozart in Edinburgh

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The Mendelssohns and Dvořák with the Boston Symphony

Kevin Wells, 4th January

A rare outing for Fanny Mendelssohn's Overture in C opens the second half of the Boston season.

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Houston Symphony takes it slow

Sydney Boyd, 9th March

On a program with unusually slow tempos in Tchaikovsky’s Sixth Symphony and Mendelssohn’s The Hebrides, Argentine pianist Ingrid Fliter gave a cursory performance of Mendelssohn's First Piano Concerto.

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Roy Westbrook

Roy Westbrook gained a diploma in music history at London University (Morley College) and was for some years the head of music day schools at Oxford University, where he also led music summer schools. After some years leading the University's business school he has returned to music teaching and writing, and recently took part in the Arts in Residence courses on Bruckner, Mahler and Bach He is co-author (with Terry Barfoot) of a history of opera, and has taught day schools on Sibelius in Oxford and elsewhere.