From Russia without Love: Gabriela Montero at King's Place

Por Roy Westbrook, 09 octubre 2021

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“here, Montero the composer, the improviser and the virtuoso became one”

Crítica hecha desde Kings Place: Hall One, Londres el 8 octubre 2021

Prokofiev, Sarcasms, Op.17

Rajmáninov, Sonata para piano núm. 2 en si bemol menor, Op.36

Stravinsky, Sonata para piano

Montero, Improvised piano performance to the screening of Chaplin’s film, The Immigrant (1917)

Gabriela Montero, Piano

A night on the tiles in Chelsea for the Prague Symphony Orchestra

Christopher Woodley, 12th February

Glorious performances of Dvořák and Prokofiev are enriched by a sumptuous improvisation by pianist Gabriela Montero.

****1

From Tchaikovsky to Weinberg with Montero and Gražinytė-Tyla

Alissa Balocco, 11th May

The pianist enchants with her Tchaikovsky, while the Orchestra dell'Accademia Nazionale di Santa Cecilia tackles an unfamiliar Weinberg symphony.

***11

Gabriela Montero captivates with her unique Tchaikovsky

Robert Gainer, 11th May

With two very well-known pieces, could Gabriela Montero, Gražintyė-Tyla and the CBSO find ways of keeping them interesting? The answer was a resounding ‘Yes’.

*****

Pianists in different constellations at the Martha Argerich Festival

Edward Sava-Segal, 27th June

Lilya Zilberstein, Gabriela Montero and Martha Argerich were just three of the pianists in this celebration of the piano in Hamburg.

****1

Fesselnder Bartók und unverzärtelter Mozart mit Montero in Nürnberg

Michael Vieth, 23rd October

Sehr selbstbewusst führte die Staatsphilharmonie Nürnberg unter Joana Mallwitz bei Bartók durch ein Schlüsselwerk des 20. Jahrhunderts.

****1

Outstanding concert by Montero, Martín and the RTÉ NSO

Andrew Larkin, 14th February

New chief conductor Jaime Martín proved to be on fire getting the best from the RTÉ NSO in tonight's works by Mendelssohn, Mozart and Beethoven, while Venezuelan pianist Gabriela Montero delights with her musicianship and improvisation.

*****

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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.