Published: 21 December 2011
Category: Artists

Francesco Piemontesi performed a five-concert tour with the Orchestra of the Maggio Musicale and their Music Director Zubin Mehta, receiving unanimous acclaim in the press. A selection of the reviews can be found below:

"Right from the start of Mozart’s Piano Concerto in C major K503 Piemontesi was wholly engrossed in the music, soundlessly imitating the orchestral exposition on the keyboard before starting his solo with a crystalline light touch, making every run sparkle while at the same time giving them structure – a combination of superlative technique and extraordinary taste. Everything was given fresh colouring and his performance featured playing of the softest and most personal manner. This allowed Piemontesi to also bring out the dark powers in the Andante, while he kept a tight rein in the Allegretto in order to highlight every nuance... Mehta and Piemontesi created a refreshingly lively Mozart."
Neue Zuercher Zeitung, 9 November 2011

"Francesco Piemontesi performed Mozart’s Piano Concerto No. 25 K503 in a transparent way, using the pedal sparingly and creating beautifully effervescent runs while Mehta reins in the orchestra ensuring the balance with the piano. It quickly became apparent what this young pianist is capable of."
Der Bund, 10 November 2011

Two opposites met in Mozart’s Piano Concerto K503: On the one hand Mehta, the grandseigneur: confident and poised. On the other hand the young Swiss pianist Francesco Piemontesi: modest but with a youthful charm. The astonishing result: an organically flowing Mozart, because Piemontesi spun out the complex lines with a graceful, beautiful sound. But far from dwelling in this beautiful sound in a narcissistic way, he adeptly and delicately integrated it into the web of orchestral voices. This Mozart was one of great subtlety. It sounded not reduced, not augmented, not indulgent, but instead radiant and natural."
Tages-Anzeiger, 11 November 2011

In Mozart’s Piano Concerto in C major K503 Francesco Piemontesi proved to be a subtle, technically brilliant pianist with the clearest articulation. The orchestra played in wonderful balance with the pianist and the first piano solo developed out of the long orchestral exposition in an almost improvisational manner…Mehta was devoted to the orchestra and the soloist in equal measure thus creating a fantastic unity. This was Mozart performed with the greatest maturity but also lightness. Piemontesi’s encore, the finale of Stravinsky’s Firebird in the arrangement for piano solo showed once again the virtuoso brilliance of the young talent.
Luzerner Zeitung, 13 November 2011

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