Milwaukee Symphony Orchestra (Edo de Waart) – Chopin Piano Concerto No.2
“Argentine pianist Ingrid Fliter gave a bewitching account of Chopin’s Concerto No. 2 with Milwaukee Symphony Orchestra. The playing was both hot-blooded and refined. From ghostlike, ethereal soft passages to grand sweeps of emotion, her nimble fingers seemed to pour out the strong personality of an artist on fire. The second movement was the most seductive bit of poetry I’ve encountered in some time.”
Express Milwaukee, November 2013
Auckland Philharmonia Orchestra (Christoph Altstaedt) – Chopin Piano Concerto No.2
“A robust performance and carefully nuanced.”
Stuff Nation, September 2013
Recital in Auckland (War Memorial Museum) – Chopin & Schubert
“The Allegro of Schubert's final Sonata puts fragile emotions within a movement of architectural vastness. Fliter caught this paradox, moving from stern formality to sparkling melodies of almost childlike simplicity.”
The New Zealand Herald, September 2013
Western Australia Symphony Orchestra (Ascher Fisch) – Chopin Piano Concerto No.2
“Her dynamic control was captivating while her understated passion built energy from melodic variation, bursting into breakneck runs followed by commanding chords which galvanised the entire band.
Yet the booming, gloomy grandeur of thematic development drew another depth from Fliter, a touch of foreboding accentuated by pizzicato in the basses…
Multiple ovations drew a scintillating encore — Chopin’s lesser-known Waltz in A Minor — for which time stood, immeasurably, still.”
The West, September 2013
Sydney Symphony (Mark Wigglesworth) – Chopin Piano Concerto No.2
“In the first half, pianist Ingrid Fliter played Chopin's Piano Concerto No.2 in F minor, opus 21 with brightly articulated filigree in its decorative passagework and a fresh varied sound of clarity and transparency.
There were moments in the first two movements where the balance between the ongoing line and Chopin's elegant ornamental arabesques inclined in favour of the latter so that the sense of continuity was stretched. Fliter, however, brought her own sense of finish and balance which sustained the music's ongoing interest.”
The Sydney Morning Herald, September 2013
Sydney, City Recital Hall – Haydn, Schubert & Chopin
“Fliter's outer movements [Haydn Sonata No. 53] were breathless and fleet […]. The lyricism of the slow movement was inhibited by a sense of forced deliberateness in the bass notes
Schubert wrote a finale resembling a ruminative country walk, through which Fliter traced a path of persuasive lyricism.
[In Chopin’s Preludes], she drew out the contrasts between the alternating major and minor key pairs, and played the work as a grand concert cycle with a wide dynamic range and involving expressive manner.”
The Sydney Morning Herald, September 2013
“Fliter’s Haydn was both light and precise. It carried through his touches of humour – an indulgence you can only afford when you have the rest of the music conquered. Fliter went about her work with confidence; always preserving the melodic line and never letting her awesome technique push the music into second place.”
J-Wire, September 2013
BBC Scottish Symphony Orchestra / Miguel Harth-Bedoya / Ravel Piano Concerto in G Major
“Argentinian pianist Ingrid Fliter breezed in with willowy grace for a performance of Ravel's G Major Piano Concerto that was likewise. She devoted space and seductive nuance to every phrase and playfully teased out the spiky rhythms… her tender slow movement was irresistible.”
Herald Scotland, February 2013
Cincinnati Symphony Orchestra / Justin Brown / Ravel Piano Concerto in G Major
“[Ingrid Fliter] is not a flashy pianist who draws attention to herself – even though she possesses effortless and brilliant technique.
Her performance on Friday was individual and thoughtful, with a lightness of touch and singing tone that drew in the listener. The pianist’s hands flew across the keys with delicacy and nuance, and she collaborated wonderfully with soloists within the orchestra.
Her phrasing was beautifully shaped, but also deeply interior, as if she were oblivious to the audience in the hall. She attacked the finale with lightning quick articulation that sparkled and was never steely.”
Cincinnati Enquirer, January 2013
Manchester Camerata / Mozart Piano Concerto No. 23 K.488
“It didn’t take long to sense just how much the Argentinean pianist was enjoying her playing. [...] Fliter was in sparkling form demonstrating charming vibrancy with such high quality pianism. In the Andante, the emotional core of the work, Fliter conveyed a rare poetry, generous in both sensitivity and grace. Fliter’s enthusiasm was infectious and from the extent of the applause she had clearly captivated the Manchester audience who were treated to an encore of Chopin’s D flat major Waltz better known as the Minute Waltz – an entertaining work that never fails to please.”
Seen and Heard International, November 2012
Utah Symphony Orchestra / Saint-Saëns Piano Concerto No. 2
“Fliter is a dynamic performer with exceptionally nimble fingers. Her sparkling execution of the proliferation of trills in the concerto’s finale was a sheer delight.”
The Salt Lake Tribune, November 2012
Deutsche Radio Philharmonie with Karel Mark Chichon / Beethoven Piano Concerto No. 3
“[Ingrid Fliter] immersing us in a refreshing translucency, playing with a engaging yet inventive confidentiality, and an admirably refined musicality. She swept across the keys, playing the chromatic passages with a rare clarity, and treating her audience to a musical version of classical oratory. She unravelled the slow movement like a kind of ethereal Arachne’s thread, as if by simply stroking the keys, the notes poured out with a magical serenity.”
Le Républicain Lorrain, May 2012
“Fliter played with a powerful, almost masculine, tone, effervescent fluidity and remarkable technical ability. This was most evident in the exhausting cadence at the end of the first movement, with its beautiful transition into the orchestral swan song. The finely spun lyricism of the second movement and the turbulent finale earned enthusiastic applause.”
Die Rheinpfalz, May 2012
“She shaped the symphonic structure creatively and with refreshing emphases, and was the leading factor in the overall impression of forward movement…”
“...Fliter explored undiscovered territories with an almost improvisational cheekiness. It was a remarkable experience, almost like hearing a new composition for the first time... What was most extraordinary about this performance was not the natural technical brilliance displayed, but the incredible artistic alertness, which enabled such musical depth”
Saarbrücker Zeitung, May 2012
Royal Scottish National Orchestra with Douglas Boyd / Chopin Piano Concerto No. 2
“Ingrid Fliter has been hailed as one of the finest in a new generation of Chopin performers, and on the strength of her journey through his Second Piano Concerto with the RSNO, it’s not hard to see why... Fliter’s miraculous blend of spontaneity, poetry and sincerity were the ideal match for its fragile Romanticism and turbulent emotions... her bell-like melodies felt as light as air.”
David Kettle, The Scotsman, April 2012
“...a programme, conducted by Douglas Boyd, that really centred on just a single performance: that of Chopin’s Second Piano Concerto by pianist extraordinaire Ingrid Fliter...Fliter’s astounding performance [...] had a great deal to reveal about the piece, through a performance that mixed steel articulation, unbroken lyricism and pellucid thinking with deeply expressive Romantic sentiment and poetry in indivisible combination: sheer, concentrated, magical musicianship.”
Michael Tumelty, The Glasgow Herald, April 2012
“Ingrid Fliter stole the show with an amazing performance of a Chopin concerto... seldom have I seen the Caird Hall Steinway given such graceful attention. The encore of the composer’s posthumous Waltz in A minor was the icing on a very delicious cake.”Minnesota Orchestra with Courtney Lewis / Schumann Piano Concerto in A minor
Fife Courier & Advertiser, April 2012
“...it was Fliter's Schumann that made the strongest impression. She was most magnetic during her first-movement cadenza - a meditation turned explosive epiphany amid scurrying staccato notes - and an Intermezzo that deftly captured the fragile and perhaps fractured nature of Schumann's mind, melancholy one moment, frantic the next. While often displaying thunderous power, she was at her strongest when gently caressing the music.”
Rob Hubbard, Pioneer Press
, February 2012
Sydney Recital - City Recital Hall Angel Place / Beethoven & Chopin
“Choosing a surefire program by two of her favourite, but very different, composers - Beethoven and Chopin - Fliter turned in a stunning recital which had the Angel Place audience up on their feet and cheering for more...
Fliter, who establishes an easy rapport with her audience, staked her territory at the City Recital Hall with the emphatic opening of Beethoven’s 32 Variations on an Original Theme. These short interlinked pieces allow the soloist to display their mastery of a wide range of styles and emotions.The Piano Sonata in E flat Op 31 shows Beethoven in a very lively and groundbreaking mood a year after his famous Moonlight sonata. The fact that this work has no real slow movement sets it apart, and the finale is a finger-cracking tarantella which had Fliter swaying and stamping the floor.
The second half was no less spectacular with seven of Chopin’s waltzes - all of them evergreens including the Minute and posthumous A minor opus - sandwiched between the much-loved Nocturne in B and Ballade No.4.
The audience loved Fliter, so much so that they couldn’t restrain their applause between some of the waltzes. Fliter took this all in good part and won more fans by her cheerful smile, floor-sweeping bows and by treating her new admirers to yet another of Chopin’s delicious waltzes as an encore.”
Steve Moffatt, North Side, July 2011
West Australia Symphony Orchestra with Vladimir Verbitsky / Mozart Piano Concerto No. 23
“Argentinian musician Ingrid Fliter was in top form in Mozart's Piano Concerto in A, K488. Near-flawless presentation of note streams, consistent clarity and an impeccable sense of style made this performance a joy. In the central adagio, the soloist drew from the deepest well of expressiveness”
Neville Cohn, The West, June 2011
Perth Recital - Government House Ballroom / Beethoven & Chopin
“Ballade in F minor was a model of its kind, yielding some of the most profoundly meaningful playing of the work I've encountered since listening to Solomon play it more than 60 years ago. The same composer's rarely heard Nocturne in B from opus 9 was a little miracle of finesse, its alternating moods of introspection and turbulence gauged to a nicety. There were delights aplenty, too, in a bracket of waltzes with Fliter bringing freshness to familiar notes in the much-loved Waltz opus 69 No. 1 - and the bitter-sweet essence of the too-rarely-heard Waltz in A minor, opus posthumous, was perfectly assessed.”
Neville Cohn, The West, June 2011
International Piano Series Recital / Queen Elizabeth Hall, London / Beethoven Piano Sonatas
“All three works contained marvellous things, and the inner dramas of both the D minor sonata Op. 31 No. 2 and Op. 57 were managed with real flair and imagination – the returns of the opening chords to punctuate the first movement of Op. 31 No. 2 were invested with mysterious beauty, the volatility of the ‘Appassionata’ and its steady ratcheting up of intensity were timed to perfection.”
Andrew Clements, The Guardian, June 2011
“The ‘Appassionata’: driven, haunting music, and played with throbbing purpose. Rather than dim the lights in the slow movement, Fliter turned them up: a restless quest for rest, perhaps, rather than a dreamy interlude. And the scorching finale felt like a mad scene worthy of opera. Three generous encores confirmed Fliter’s finesse: a glittering Schubert Impromptu, and a Chopin waltz and nocturne. We definitely left happy.”
Neil Fischer, The Times, June 2011
“An engineer's feel of logistics, a circus entertainer's eye for variety, a bombardier's sense of timing … she could sing a line as well as she could plan and deconstruct it. Her cantabile line seemed to have a happy time being blown around unthinkingly but beautifully in the Adagio of this otherwise moody sonata. In the Mendelssohnian Scherzo of the Sonata in E flat, Op 3 No 3, there was more purpose to the jolly whistling melody in the right hand… that is propelled by a thousand skittish legs in the left.
Yet Fliter's touch can pack a punch too. Her percussive interruptions in the first movement of the Sonata in E flat showed there was plenty of Semtex stuffed in those fingers … In the Beethoven, it made perfect sense. Her weighty account of the first movement of the ‘Appassionata’ sonata was full of these explosive, ardent outbursts, allowing the work to spring forth and snatch at our throats.”
Igor Toronyi-Lalic, The Arts Desk, June 2011
“Filter was fully in her stride for the ‘Appassionata’. This was a perfect example of how to achieve maximum results with the minimum of fuss. Tempos were well judged and nothing felt forced or rushed. There was judicious use of rubato and phrasing was subtly nuanced. The first movement exploded with conviction, the variations of the second one were carried off to perfection and the finale swept all before it. Three encores followed, a polished Chopin waltz and a nocturne, closing with a Schubert Impromptu that was deliciously poetic.”
Andrew Maisel, Classical Source, June 2011
Philharmonia Orchestra with Danail Rachev / Mozart Piano Concerto No. 23
“Mozart's Piano Concerto No. 23 in A was executed with delicacy and integrity. Pianist Ingrid Fliter gave a performance in which every note counted: a good amount of passion and energy, but with a beautiful light touch at the keyboard which suited the work to perfection.”
Leicester Mercury, April 2011
Calgary Philharmonic Orchestra with Andreas Delfs / Beethoven Piano Concerto No. 1
“This is a youthful work, and it was given a youthful performance by Fliter, full of pep and good spirits. Fliter is an unusually well-co-ordinated pianist, and with this comes a remarkable ease in playing and striking rhythmic security.”
“The runs simply sparkled with energy and life, not only in the opening movement but notably in the even more difficult finale.”
“As a contrast, the slow movement was poetry itself, the piano tone projecting easily and warmly into the hall.”
“Fliter gets a very fine sound from the instrument, and she deftly accompanied by Delfs and the CPO.”
Calgary Herald, March 2011
New York Recital - 92nd Street NY / Haydn, Beethoven & Chopin
“Ms. Fliter elegantly illuminated the music’s contrasting moods, from the subdued melancholy of the Waltz in B minor (Op. 69, No. 2) to the carefree spirit of the ‘Grand Valse Brillante’, Chopin’s first published waltz. The nostalgia of the posthumously published Waltz in A minor was beautifully conveyed. The program concluded on a lively note with the virtuosic Waltz in A flat (Op. 42).”
New York Times, February 2011
Chopin Piano Concerti / Scottish Chamber Orchestra, Jun Märkl (Linn Records)
“Her playing magically combines a personalised poetic impulse with an exhilaratingly choreographed virtuosity.”
BBC Music Magazine
“Fliter's "timing" is judged to perfection; her tempi are near ideal; she never loses sight of Chopin the poet or reinvents him as a red-blooded virtuoso.”
“...simply spellbinding. The music seemed to flow from her with an utterly natural lyrical impulse, graced with power, luminous delicacy and a spectrum of tonal coloring that combined to mark her out as one of the most instinctive and eloquent Chopin interpreters playing today.”
Beethoven Piano Sonatas (EMI Classics)
“The titles of these sonatas summon up a stormy, blood-and-thunder vision of Beethoven. That isn’t Ingrid Fliter’s way. Her approach is grandly spacious, and full of the subtle pedal effects you normally expect in Chopin. This lends the ‘Pathétique’ Sonata a proud, Racine-like pathos which I’ve never heard before. In the first movement of the ‘Tempest’ Sonata she gives the nervous alternations between fast and slow an almost modernist strangeness … a remarkable disc."
Ivan Hewitt, The Telegraph
“The opening chord of the ‘Pathétique’ Sonata commands attention, as does Ingrid Fliter’s thoughtfully exploratory way with the whole of the Grave introduction. She is in no rush to get to the Allegro. When she does it is brought off with a fine mix of clarity and direction-focused quickness and with some ear-catching alterations of touch … Following a dynamically varied first movement, in which fortissimo accents lack nothing in force, the famous song-like slow movement is mellifluously turned and made sentient by Fliter ...
Fliter’s unfolding of the opening of the ‘Tempest’ is full of mystery, the distinct faster passages poised (a typical facet of Fliter’s playing), and when those enigmatic arpeggios return they are ever more suggestive (and finely pedalled, too)... For the ‘Appassionata’, Fliter reserves her fullest-sounding playing (faithfully captured by an unfailingly unflinching recording that also allows air around the instrument) in a fiery and controlled account that always knows where it is going.”
Colin Anderson, International Record Review
“Unfazed by technical demands, talented pianist Ingrid Fliter takes on Beethoven and wins with exhilarating and powerful performances ...
...three of the most recorded ‘titled’ piano sonatas, all in minor keys, ‘Pathétique’, ‘Tempest’ and ‘Appassionata’, whose driving allegros she delivers with magisterial dramatic attack and effortlessness, unfazed by the technical demands. At the climax of the opening movement of the F minor sonata (‘Appassionata’), Fliter takes the breath away with the speed of her piu allegro envoi — this is one of the most exhilarating and powerful performances of this great work among recent recordings.
Fliter’s temperament and understanding of the turbulent emotional shifts of Beethoven’s piano writing at this stage of his life (in his early thirties) are refreshing at a time when the market is flooded with well-played but bland interpretations. She is also, like Argerich, a lyric poet, getting her fingers to “sing” the cantabile melody of the ‘Pathétique’s adagio without dragging or making it sound mawkish. She is equally arresting in the corresponding movements of the ‘Tempest’ and the ‘Appassionata’, making music of the silences and rests that are essential features of Beethoven’s expressive armoury. One hopes she explores the later, even greater masterpieces in due course. These thrillingly played interpretations whet the appetite for more.”
Hugh Canning , Sunday Times
“Here is a riveting traversal of well-known works. Just listen to the first movement of the Pathetique and you’ll hear the virtues that pertain throughout – surprising tempi and touch that nevertheless make sense, themes presented as inner voices relating to each other with as much personality as characters in a play. Fascinating stuff.”
James Inverne, Editor’s Choice, Gramophone
“In the Pathetique Sonata she recreates Beethoven’s ‘Romeo and Juliet’ period – a burgeoning and romantic foretaste of so many great things to come – with the finest senses of both drama and solemnity. Her Adagio cantabile sings with an ease that truly soothes the savage beast and the recitatives in the Tempest Sonata are as poised and mysterious as you could wish.
... Shakespeare’s The Tempest, a fable of rebirth and reconciliation, may remain an enigma, but it is surely Fliter’s cardinal virtue that she gives you a renewed sense of wonder at the composer’s pioneering strength and eloquence.
In the Appassionata Sonata Fliter is once more unswervingly serious, as true to the spirit as to the letter of the score... it is wonderful indeed to encounter a pianist of such exalted yet natural and unforced artistry.
... Rarely has this label been so lucky in its choice of pianists.”
Bryce Morrison, Editor’s Choice, Gramophone
Chopin Complete Waltzes (EMI Classics)
“Chopin’s waltzes often appear to be relegated to second division behind the ballades and sonatas. Ingrid Fliter’s adorable recording should help put that right. Vivid, immediate, spontaneous, full of grace and wit, it presents the whole gamut of Chopin’s emotional variety. She plays no phrase the same way twice, and her feel for voicing and texture is enhanced by her glowing, transparent tone”
Editor’s Choice, five stars, Classic FM Magazine
“Fresh from her first EMI disc, a glowingly lyrical Chopin recital which included a smattering of waltzes, Ingrid Fliter has now recorded the complete waltzes, repertoire for which she has a special flair and affinity. Once again her playing magically combines a personalised poetic impulse with an exhilaratingly choreographed virtuosity.
Fliter revels in the proliferation of faster pieces, whisking them off the page and giving their sparkling passagework both refinement and shape. She is dazzling and imaginative in the brilliante waltzes, Op.18 and Op.34 Nos 1 and 3, yet she is equally attuned to the more reflective pieces. Try the A minor Op.34 No. 2, where the melody is gorgeously shaped and the rubato and tonal nuance perfectly judged. Or hear the way she ghosts in the opening of the B minor Op.69 No. 2 and the F minor Op. 70 No.2, before increasing her tonal resilience. And her poise and radiance in the in the rarely heard posthumous E flat major makes one wonder whether Fliter knows Michelangli’s live recording.
Such revelations abound. Like all recordings of Chopin’s complete waltzes, this is a disc best dipped into rather than heard in one sitting, but Fliter’s account can complete with the best, and she has been superbly recorded. It is, however, surely time this gifted pianist set down a broader range of repertoire. I look forward to it immensely”.
Tim Parry, five stars, BBC Music Magazine, Christmas 2009
“Presenting them in their published order, followed by the 11 posthumous waltzes with and without opus numbers, Ingrid Fliter sets a new benchmark for the complete waltzes. From beginning to end, this is among the finest Chopin recordings of recent years.
Why? Each Waltz emerges as if a great actress were reading a short story, each with its own colour and character. Fliter’s “timing”, by which I mean her phrasing and rubato, is judged to perfection; her tempi are near ideal; she never loses sight of Chopin the poet or reinvents him as a red-blooded virtuoso. In addition, the superbly voiced piano is realistically recorded, neither too distant in that impersonal back-of-an-empty-hall way nor so close that the instrument is not allowed to sing.
Dip into any section of any waltz at random and you will hear a version to supersede, or at least rival, your current personal favourite. To do this in all 20 waltzes is a remarkable achievement. One can admire the chilly perfection of Dinu Lipatti but he fails to touch the heart as Fliter does in such passages as the seventh theme (dolce) at 3’30’’ in Op. 18; neither is he as playfully insouciant with the contrasting forte/piano central grace-note section of the F major Waltz. Though you may thrill to the virtuoso treatments by Hofmann in the two A flat waltzes and Rachmaninov in the E minor Waltz, Fliter stays faithful to the spirit of the composer without denying her own keyboard personality.
Jeremy Nicholas, Gramophone, December 2009
“The Argentinian pianist Ingrid Fliter was born to play Chopin. He is the composer with whom her name is most closely associated, and this second CD for EMI is devoted entirely to his works, in this case all the waltzes.
Fliter’s playing blends an innate feel for style with imagination. Subtle inflections of tonal shading and rhythm enhance the music’s sense of spontaneous invention. Equally essential to these interpretations are an appreciation of the finely balanced proportions of these miniatures and a judicious fusion of poise and insights into the warmth of heart that the music embodies. Famous waltzes such as the “Brillante” ones of Op 18 and Op 34 Nos 1 and 3 exude joy; the “Minute Waltz” Op 64 No 1 has a glowing freshness, graced as it is with Fliter’s limpid tone and her natural pacing. Dexterity is not deployed as an end in itself here. Rather, there is a consistent impression that Fliter uses her technique with discretion as a means to finding the nub and scope of expression that Chopin distilled in these pieces.
More soulful waltzes, such as the others in the Op 64 set or the two of Op 69, are shaped with delicate reflectiveness, with shifts into more robust, more active ideas sensitively judged. The D flat waltz Op 70 No 3 perfectly exemplifies the singing line that Fliter brings to her playing throughout this cherishable disc.”
Geoffrey Norris, Telegraph, five stars, Album of the Week, October 2009
“After sampling Ingrid Fliter’s first Chopin CD, released a year ago, the critic and piano specialist Bryce Morrison deemed that she was “clearly born for Chopin”. He was entirely right …
She shows her mettle immediately with that spirited whirl, the Op 18 Grande Valse Brillante... The grace at high speed, the shaved phrasings, the little inflections and hesitations pronounce a pianist completely at ease with her own technique and the special mysteries of Chopin’s world, where gaiety shades into melancholy and nothing is quite what it seems.
As these waltzes proceeded… I remembered a comment by Schumann... If Chopin played that waltz for dancing, he wrote, “half the ladies should be countesses at least”. There’s a similar aristocratic touch about Fliter; you feel it in her refinement of touch, her elegant poise, her infinite shades of soft and loud.
At the same time she is never aloof. When Chopin decides on glitter, she’s a smiling diamond (Waltz No 14 in A-flat major). When the soul is bared, she stirs the heart without forcing tears (Waltz No 3, A minor). And everything glides so naturally. In her hands, the pauses and dawdlings of rubato become no technical tricks but delightful coquetry, ways of teasing those salon ladies to whom the waltzes were dedicated — Madame la Comtesse Potocka, Madame la Baronne de Rothschild, Mesdames d’Ivry, d’Eichthal and the rest.
The recording, clear and delicate, catches Fliter’s full spectrum of textures and colours. What a delight this CD is …”
Geoff Brown, The Times, October 2009
“The most recent winner of the quadrennial Gilmore Prize, Argentinian pianist Ingrid Fliter is fast establishing herself as the pre-eminent contemporary performer of Chopin, following her EMI debut of selected Chopin Piano Works with this album focusing purely on his waltzes…
Restrained and elegant without sacrificing the momentum required to keep the pieces flowing, there's more than a touch of Arthur Rubinstein in her performance, as befits one who grew up listening to his masterly 1963 recordings.”
Andy Gill, The Independent, October 2009
Chopin Piano Sonata No. 3, Mazurkas Op. 59, Barcarolle Op. 60, Grand Valse Brillante Op. 18, Waltzes Op. 64 & Ballade No. 4 (EMI Classics)
“Fliter makes her major recording debut with a scintillating and heart-warming flyer for her forthcoming Chopin album. Clearly born for Chopin, her playing is a marvel of the most refined fluency and affection. For her the Mazurkas are very much Chopin’s confessional diary, and the richly expressive Op 59 set…are offered with a haunting sense of their Slavic idiosyncrasy, their alternating radiance, sudden anger and despair.
The Fantaisie Impromptu is never a poor country cousin to the other Impromptus, and here in particular Fliter will make lesser pianists wonder at her effortless musical grace and unfaltering command. Elegantly tapered phrasing and dazzling virtuosity combine to memorable effect in the D flat Waltz, Op 64 No. 1, while the Barcarolle, one of Chopin’s greatest works, is coloured and inflected with the finest distinction.
Throughout, Fliter’s rubato, or musical breathing, is at once natural and personal and EMI has captured all of her pianistic sheen, her exquisitely rounded and glowing sonority. This is tantalising indeed, and I can scarcely wait for the completed album which will include such late masterpieces as the Fourth Ballade and the Third Sonata.”
Gramophone, April 2008
“Ingrid Fliter clearly loves Chopin’s music. The warmth of her playing and the lyrical impulse of her interpretations are combined with discretion in matters of dynamics, pianistic decoration and tonal colour to make these pieces flow from her fingers with the spontaneity of someone deeply immersed in the music’s idiom.
This is not Chopin playing that seeks to dazzle superficially or to self-congratulate in its technical accomplishment. Chopin’s Third Sonata, for example, is imbued with a rare, mellow reflectiveness and troubled serenity, the scherzo offering a contrast with its rippling clarity. The rapid repeated notes in the Grand Valse Brillante are not merely digital feats, but leap for joy; the famous Minute Waltz is wonderfully fresh and supple.
Just as telling are the diverse moods she brings to the three Mazurkas Op 59, by turns wistful, lilting and rhythmically buoyant, and the Fourth Ballade’s blend of gentle contemplation, active flurries and passion. This is Chopin playing that glows, and magically communicates Fliter’s compelling, subtly inflected response to the music’s emotional scope.”
The Telegraph, April 2008
“In the wake of Radio 3’s Chopin splurge, this CD in particular deserves mention. The Argentinean pianist’s Chopin is in the grand tradition: a big sound, and intense drama, with the architecture of the longer works brought out in high relief. Her waltzes charm and her mazurkas have peasant impulsiveness.”
The Independent, Album of the week, May 2008
“Fliter beautifully shapes the melodic lines of the highly sophisticated Op. 59 Mazurkas, gives a luminous and eloquent account of the Barcarolle, and brings a freshness and verve to the waltzes. The Fourth Ballade, one of Chopin’s greatest works, is laced with loving detail and lyrical flair….All told, a super disc.”
BBC Music Magazine, August 2008
“The Third Sonata is quite a mountain to climb, given competition in the form of Lipatti, Pollini and Uchida. Fliter acquits herself well. There is much tenderness to the first movement, delivered in a pliable fashion that never loses sight of harmonic goals. The Scherzo begins with some stunningly mercurial finger definition, while later contrasts are daringly indulgent. The Largo combines sweetness with heartbreaking fragility.”
International Piano, May/June 2008
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