Surface clatter and turbulent storms in Nobuyuki Tsujii’s QEH recital

Por Mark Pullinger, 31 enero 2019

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Crítica hecha desde Queen Elizabeth Hall, Londres el 30 enero 2019

Satie, Trois Gymnopédies

Debussy, Images, Set 1

Ravel, Sonatina en fa sostenido mayor

Chopin, Scherzo núm. 1 en si menor, op. 20

Chopin, Scherzo núm. 2 en si bemol menor, op. 31

Chopin, Scherzo núm. 3 en do sostenido menor, op. 39

Chopin, Scherzo núm. 4 en mi mayor, op. 54

Debussy, Suite bergamasque: Clair de lune

Kapustin, 8 Concert Etudes, Op.40: Prelude no. 1

Chopin, Estudio en mi mayor "Tristesse”, op. 10 núm. 3

Nobuyuki Tsujii, Piano

Chopin and Rachmaninov make for a gorgeous summer evening in Cleveland

Sam Jacobson, 21st August

Dima Slobodeniouk returns to Cleveland for an evening of Romantic era masterworks, and pianist Nobuyuki Tsujii makes a memorable local debut.

****1

Powerful Tchaikovsky and Shostakovich from Vasily Petrenko and the RPO

Chris Garlick, 7th June

Nobuyuki Tsujii joins the Royal Philharmonic Orchestra in Tchaikovsky's ever-popular First Piano Concerto before Vasily Petrenko conducts a thrilling Shostakovich 8.

****1

Bell-tastic season opener in Liverpool

Rohan Shotton, 19th September

Vasily Petrenko opens his penultimate season with RLPO in raucous style.

****1

Nobuyuki Tsujii, méticuleux pianiste de l'instant face à un public enthousiaste

Alain Lompech, 23rd October

Retour sur les grands débuts parisiens du pianiste japonais Nobuyuki Tsujii au Théâtre des Champs-Elysées.

***11

Nobuyuki Tsujii’s recital in Sydney

Zoltán Szabó, 22nd May

There are not many classical musicians on the international circuit who could achieve the ‘legend’ status; whose concerts would be attended by adoring fans rushing to the stage at the conclusion of the recital, who would be referred to by a nickname, suggesting an ongoing relationship and familiarity with their fans.

****1

Technical merit high, artistic impression mixed

David Karlin, 30th March

An excellent second half performance of Chopin's Four Ballades is preceded by an interpretation of waltzes and études that often lacks nuance of phrasing and dynamics.

***11

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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.