Full throttle: finger crunching pianism at the QEH

Par Mark Pullinger, 12 juin 2015

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“As she left the platform, Ott checked her fingertips… I suspect for blood”

Critique faite à Queen Elizabeth Hall, Londres, le 11 juin 2015

Ravel, Bolero (arr. tristano for 2 pianos)

Debussy, 3 Nocturnes (transcr. Ravel for 2 pianos)

Ravel, La Valse

Tristano, A Soft Shell Groove Suite

Stravinsky, Le Sacre du printemps (for 2 pianos)

Alice Sara Ott, Piano

Francesco Tristano, Piano

Jaap van Zweden prend énergiquement les rênes du Philhar'

Pierre Michel, 19th October

À l'exception d'un Concerto en sol de Ravel délicat voire discret avec Alice Sara Ott, l'Orchestre Philharmonique de Radio France a livré un concert tonitruant sous la baguette de son directeur musical désigné.

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Concert Beethoven à Montpellier : Ludwig contaminé par l'omniprésence de l'image

Sébastien Herbecq, 2nd April

L'intégrité de la musique de Beethoven a été atteinte par ce concert "symphoniconumérique" loin de servir son objectif de désacralisation de la musique classique.

*1111

Top drawer French music from Ott, Bloch and the LSO

Roy Westbrook, 27th November

Debussy and Ravel frame a performance of Lutosławski’s Concerto for Orchestra as Alexandre Bloch guests with the London Symphony Orchestra.

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Polished Ravel x 2 from Alice Sara Ott with the Chicago Symphony

Graham Meyer, 25th September

Three hands for two concertos: Alice Sara Ott joins the Chicago Symphony Orchestra for Ravel's Piano Concerto for the left hand and the Piano Concerto in G major.

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Alice Sara Ott's Field and Beethoven delights in Dublin

Andrew Larkin, 27th February

A fine and sensitive pianist, Alice Sara Ott captivates with Field Nocturnes and Beethoven sonatas at the National Concert Hall, Dublin.

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Karina Canellakis and Alice Sara Ott make memorable NY Phil debuts

Susan Stempleski, 4th April

The American conductor and German-Japanese pianist shine in a mostly meditative program of Webern, Strauss, Ravel and Scriabin.

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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.

Full throttle: finger crunching pianism from Alice Sara Ott and Francesco Tristano at the QEH