“By the time Tiempo ended with his two encores, the Chopin F Major Nocturne, Op. 15, No. 1 and a fiery dance by Astor Piazzolla, the enthralled listeners felt that a true keyboard wizard had appeared, a musician of probing intellect and Latin temperament in the manner of the Chilean master Claudio Arrau.”
Classicalmusicguide.com, November 2010
Avanti Classic CD review / Liszt Dance of the Death and Petrarch Sonnets, Tchaikovsky Piano Concerto No.1
“A strong sense of lyricism and a taut technique colour Sergio Tiempo's live recording of Liszt's Totentanz and Tre Sonetti... and Tchaikovsky's first Piano Concerto.
Tiempo is a graduate of Martha Argerich's Lugano Project and it shows: the hurtling passions and moments of introversion in the Tchaikovsky are cleverly navigated.”
The Independent, January 2012
“The two works here involving orchestra were recorded live at the Lugano Festival in 2004 and 2005, and show a pianist of electrifying brilliance. Liszt’s Totentanz is, of course, all demonic brilliance – Tiempo attacks it with ebullient swagger. The finale [of Tchaikovsky's First Piano Concerto] bristles with excitement.”
Sunday Times, January 2012
“[Tiempo] is playing better than ever: anyone who can play Liszt’s Totentanz and three Petrarch Sonnets with such ease need have no fear for their reputation. And then there is his performance of Tchaikovsky’s Piano Concerto No.1: he plays with daring and with spirit, but there is thought behind the thunder; precision in the details and always a sense of something to be said.”
Aargauer Zeitung, 6th January 2012
Solo Recital – LG Arts Centre, Seoul, South Korea
“From the first note, he made a very strong impression. Contrast, variety and sonority all came through clearly. His playing went beyond the way we normally hear classical music performed: very unique. Particularly in the Lizst and Beethoven, he played with a most dreamlike sonority, with a wide range of dynamics. When he played Argentine composer Ginastera, the music overflowed with bright, sparkling emotion and flexible rhythms; a sensitive interpretation perfectly in tune with South American emotion and culture. In a word, Tiempo’s playing represents “freedom”. Instead of sticking to logic, he continuously changes tempo and rhythm, to express his feelings in a huge variety of mood colors. Instead of cold intellect, he aims for intense subtlety, creating his own unique musical phrases. Pianist Sergio Tiempo is definitely unique. He has exceptional sensitivity to the music, together with a high level of freedom.”
International Piano (Korea), Oct 2011
Queensland Symphony Orchestra / Liszt Piano Concerto No.1 / Eivind Aadland
“Sergio Tiempo must feel the weight of scaling Liszt's Piano Concerto No 1, a technical juggernaut that is not all thundering octaves and cascades of notes, but a serious work.
Aadland gave Tiempo latitude while keeping exchanges between soloist and orchestra fiery. Tiempo achieved glowing lyricism and filigree subtlety in revealing the composer's spirituality and highlighted Liszt's trailblazing experiments in colour.”
The Australian, June 2011
International Piano Series – Queen Elizabeth Hall, London
Liszt, Beethoven, Chopin, Ravel
“[Sergio Tiempo] launched into three of Liszt’s ‘Petrarch Sonnets’, and immediately put his stamp on them. Each of these pieces has a wayward momentum, and he caught their poetry in a manner which compelled attention to every note. His rapid pianissimo decorations alternated with steely clarity; it all felt genuine…
From the last bar of the Liszt he segued straight into the serene opening bars of Beethoven’s ‘Moonlight’ sonata … But if the Scherzo which followed had quirky charm, nothing prepared us for the whirlwind of arpeggios which sent the last movement on its flight. This may be marked ‘presto agitato’, but I’ve never heard it played so crazily fast yet still accurate…
After the interval … a dazzling ‘Gaspard de la nuit’: this was territory which allowed his singular artistry – and phenomenal technique – carte blanche. After yet more Liszt, he gave us the most exquisite Chopin nocturne as an encore. Should this wild horse be tamed, or left to run free?”
The Independent, March 2011
“With a mentor such as the volatile Martha Argerich, Sergio Tiempo could never be the kind of pianist to dance around the teacups. …
The three selections from the Italian volume of Liszt’s Années de pèlerinages showed us the benefits of caressed keys, mellifluous rubato, and the dappled colours of a French Impressionist. Petrarch’s Sonnet No 123, transferred to music, tiptoed away from us with the loveliest of fades — a delicacy of touch also audible in Liszt’s third Consolation, portions of Beethoven’s Moonlight sonata, and the Chopin Nocturne encore.”
The Times, March 2011
Orchestre Philharmonique de Radio France / Chopin Piano Concerto No.1 / Myung-Whun Chung
“Conductor Myung-Whun Chung and pianist Sergio Tiempo shone ...
About Tiempo, he is a true virtuoso, of fantastic dexterity, and he is also capable of beautiful, tender phrasing in the “cantabile” passages. As sheer playing, it was stunning”
Buenos Aires Herald, November 2010
Norrlands Opera Orchestra / Rachmaninov Piano Concerto No.2 / Rumon Gamba
“Keep the name of this pianist, Sergio Tiempo,in your mind, for no-one was left unmoved by his fabulous interpretation of one of the most demanting works in the piano repertoire. [Tiempo] not only knows his Rachmaninov in detail, he also gets through the most challenging passages with no apparent difficulty and with a sensitivity towards the orchestra that was one of the highlights of this polished interpretation. …
Sergio Tiempo has an very translucent tone pallete and his fingers seem to play with imagination and an obvious musicality.
The second movement’s wonderful poetry which is both serious and full of melodic fervour ran along with graceful movement. On to the finale which had such subtly refined layering of colours that there is only one thing to say: truly brilliant! The communication between soloist and orchestra was exemplary and the concerto was without doubt the highlight of the concert.
A sustained standing ovation in the crowded concert hall was acknowledged with an encore of a Chopin Nocrutre, Op.15 No.1.”
Västerbottens Kuriren, June 2010
CD ‘Martha Argerich & Friends, Live from Lugano 2009’ (EMI)
“Sergio Tiempo and Karin Lechner present the most evocatively orchestral Ravel Rhapsodie espagnole I’ve ever heard emanate from four hands.”
BBC Music Magazine, June 2010
Berlin Philharmonie / Chamber Concert with Edicson Ruiz and Ivan Garcia
“The audience responded to this extraordinary concert given by three young, commited and highly talented Venezualans with much applause.
The skill with which Tiempo mastered the enormous technical and musical difficulties of this impressionistic piece was breath-taking. You could see the waves in which Ondine played, smell the dead bodies on the creaking gallows, and feel fear at the goblin's macabre lunacy."
klassik.com, March 2010
"The world is so unfair: a simple-minded Lang Lang bounced through Beethoven's C minor piano concerto in mental gym shoes, and the audience in the sold-out Philharmonie hall went down on their knees before him. Instead of a sense of the historical style of the piece, all he offered was a pleasant sound. The Chinese pianist whiled away the time and his boredom with all kinds of silliness. Two days later, a much more talented pianist, Sergio Tempo from Caracas (a curly-haired fireball, bursting with energy and expressiveness) performed in the neighbouring Kammermusicsaal. He dug deep into Haydn's undervalued piano sonata in D major; Ginastera's "Danzas argentinas" shimmered with wit. And yet the small concert hall was barely half full. But this varied recital flowed with the lifeblood of true art."
Berliner Morgenpost, March 2010
Hallé Orchestra / Rachmaninov Piano Concerto No.2 / Sir Mark Elder
“[Tiempo] plays his music as if inspired by the moment. The technique is there in generous measure, but he likes to take risks. […] the effect is magical: the opening sequence of solo chords kept you guessing as to how each one should sound, and his treatment of the first big theme had a swooning, very Latin style to it.
He believes in being heard all the time, never merely accompanying, and going full-tilt for the emotional climaxes. There was an exciting journey to follow the farewells, in this Brief Encounter.”
Manchester Evening News, September 2009
“Young South American pianist Sergio Tiempo had just the right combination of quixotic brilliance and poetic intensity to breathe new life into the old warhorse and bring cheers from the audience.”
thisisnottingham.co.uk, October 2009
CD ‘La Belle Epoque’ with Karin Lechner / Milhaud, Ravel, Fauré, Debussy (Avanticlassic)
“Karin Lechner and her brother Sergio Tiempo combine successful solo careers with their appearances together – and a formidable duo they are too. Sibling telepathy coupled with playing together since they were old enough to sit on a piano bench have their benefits, one of which is this CD, without doubt one of the most electrifying recordings of four-hand piano music I have ever heard. Any scepticism will be dispelled after the opening bars of “Vif”, the first movement of Scaramouche. How alive they are to every nuance, precision-drilled yet elegant and spontaneous, with that essential prerequisite of making a studio performance sound as though it were being played in front of a live audience.”
Gramophone, January 2010
"The enthusiasm of both musicians gives consistency to a kaleidoscopic programme. The performance is energetic, clear, vividly contrasting and characterised by confident tempi: with such qualities it is clear why Martha Argerich is a fan of Karin Lechner and her brother Sergio Tiempo’s playing. Their exuberant style is particularly fitting for the spirited ‘Fêtes’ and the final explosion of ‘La Valse’, but they are equally at home with the interplay of shade and light (for example in ‘Nuages’). And finally, the two pianists demonstrate as much ease in portraying tenderness as they did in the more brilliant and spirited passages: they give a performance of ‘Dolly’ that is absolutely astounding in its gentleness and rich expressiveness. The transcription of Suite No.2 from ‘Daphnis et Chloé’ has some magnificent moments, thanks to a subtle setting of the growing mass of sound. An additional DVD shows the artists performing three short pieces by Lutoslawski, Dvorak and Piazzolla. The three pieces are filmed in three different styles, all of which do justice to the beautiful and spectacular encounter between these two pianists."
Diapason, 5 stars, September 2009
“Listen to the fireworks from Scaramouche of Milhaud, then immerse yourself in the world of wild emotions of the second Suite of Daphnis and Chloé by Ravel and then relax with the merry and tender colors of Gabriel Fauré's Dolly. The magic also works in two Nocturnes of Debussy: one can only admire the shimmer of the colors, the unequalled variety of timbres, and the refined use of the nuances and then be overwhelmed by the disarming sensitivity that is admirably performed by these excellent pianists who are in total control of their instruments.
The interpretation (of Maurice Ravel's La Valse) by the Duo Lechner Tiempo is extraordinary: the perfect symbiosis, already present from the beginning of this CD, seems to go even further: it binds the musicians in only one dash, in only one language… The rise of tension leads to a phenomenal final crescendo, leaving the listener completely flabbergasted.”
Pizzicato, Award: Excellentia, September 2009
“Quite electrifying playing immediately fills the room as the young players sound, figuratively speaking, as though they are dancing along to the outer movements high spirited music - it must be noted that they are suitably reflective in the central "Modere" movement and altogether this is a wonderful rendition. …
It is hard to imagine for those who have yet to hear this duo in action but their playing of Ravel's second suite from Daphnis et Chloe leaves little to the orchestral version. A simply ravishing account of Lucien Garban's virtuosic transcription that the Duo Lechner play with considerable finesse.
Central to the programme is Faure's Dolly suite and Duo Lechner are sensitive to the more reflective nature of the music and grant it a clean, simple rendition that merely leaves a smile on the listeners face. …
Last up is Ravel's transcription of his own La Valse and it is given a quite exceptional reading here; many will have heard orchestras produce less colour than the Duo Lechner do here. Reflective where called for, the faster movements are thrillingly dispatched in a white-knuckle ride that has one perched on the edge of one's seat. Fortunately, despite all the many thrills, there are no spills and one merely wishes to have been present when this marvellous rendition was set down.
… this is a disc that cries out to be heard and then heard again! Enthusiastically recommended.”
Sa-cd.net, October 2009
“Everything in the famous music of Milhaud and Fauré is light, joyful and naturally paced in a way that is seldom heard. Then the pieces from Daphnis et Chloé sound mature and orchestral. The lightening fast passages, where brother and sister follow each other perfectly, are breathtaking. The two Nocturnes of Debussy provide an appetizer of their playing with timbres that are much more developed with two pianos than with one, from mysterious containment, almost without noticeable beginning, to majesty by the perfect doubling of many notes. That playing breaks entirely loose in a fantastic - and sometimes improvised - Valse of Ravel, which dances, astonishes, scares, explodes and finally drags you into a feverish swirl.”
Knack, July 2009
“These musicians deliver superb chamber music. The faster and more virtuosic the music is, the more musicians seem to enjoy it… For those who love flamboyant and compelling piano, this CD is an absolute must.”
De Standaard, July 2009
Malaysian Philharmonic Orchestra / Liszt Piano Concerto No.1 / Vassily Sinaisky
“There was more pleasure to be had after the overture, with soloist Sergio Tiempo in Franz Liszt’s Piano Concerto No.1 in E flat S.124. The Venezuelan pianist showed dazzling technique that he married with nuanced and deeply-felt playing. This concerto, written by one of the greatest pianists of all time, certainly needs virtuosity at the keyboard and, indeed, Tiempo had plenty to spare.”
The Star Online, March 2009
Scottish Chamber Orchestra / Ravel Piano Concerto No.1 in G major / Thierry Fischer
“Ravel's Piano Concerto - the one for two agile hands - was played with conspicuous relish by Sergio Tiempo, a young Venezuelan who showed he could make it sound three-handed."
Glasgow Herald, November 2008
Deutsches Symphonie-Orchester Berlin / Chopin Concerto No.2 / Yutaka Sado
“The young Venezuelan pianist Sergio Tiempo performed Frederic Chopin’s wonderful second piano concerto. He is clearly a virtuoso, who found even the ridiculously demanding passages only mildly challenging; a magician of lucid sound, who performed the trickling arabesques with ice-cool ease.”
Der Tagesspiegel, October 2008
“Sergio Tiempo gave a thrilling performance of the young Chopin’s 2nd piano concerto.”
Berliner Morgenpost, October 2008
“Pianist Sergio Tiempo certainly cannot be accused of a lack of soul; trained by Martha Argerich, much of his playing is reminiscent of his great mentor with her almost uncompromising wild passion. … Without a doubt, Tiempo is hugely talented, in particular in his attack and tone: a pianist with a thousand tone colours, at times transparent as glass, at others dense and heavy; he is like a singer at the keyboard, flirting then thundering with the sound.”
Kulturradio, October 2008
Malmö Symphony Orchestra / Ravel Left Hand Concerto / Mario Venzago
“Maurice Ravel's Left Hand Concerto is a symbol for the triumph of artistic skill ... This time it was the fiery young pianist Sergio Tiempo who played the melody with his thumb and the accompanying figures with his other fingers, playing whole and broken chords to the limit of what one can do on keyboard - and Tiempo reached beyond the ordinary. With both hands full, he then played an Argentinean dance by Alberto Ginastera.”
Sydsvenskan, April 2008
Washington Performing Arts Center / Haydn, Chopin, Ravel, Liszt
“Sergio Tiempo, the immensely talented Venezuelan-born pianist, uses his colossal technique to produce a spectrum of colors and dynamic nuance from the piano. …
In the "Gaspard" pieces, the glissandi in "Ondine" fairly shimmered, while the famously difficult "Scarbo" was imaginatively realized with crystalline clarity. Tiempo also possesses a golden singing sound, ravishingly displayed in the Chopin and Liszt pieces. The same lyrical impulse pervaded the Haydn sonata, in an interpretation perhaps more operatic than symphonic.
Tiempo's great strength is his white-hot intensity. When combined with his cultivated musical intelligence, it achieves strikingly original results…”
Washington Post, April 2008
CD with Mischa Maisky / Rachmaninov (Deutsche Grammophon)
"[Maisky] claims he has been waiting for the right pianist to come along and record the Cello Sonata with him, and it is easy to see why he chose Sergio Tiempo as his partner. Tiempo's easy grace and crystalline spring to the playing provide a magic carpet on which Maisky billows and soars, and the surrounding airiness of the live Lugano recording certainly helps to make this a new benchmark.”
Benchmark Recording; Performance: 5 stars Sound: 5 stars
BBC Music Magazine, June 2008
“What a joy: a whole programme of Rachmaninov from this most romantic of Russian cellists, recorded live in recital with a sumptuous, dazzling performance of the composer’s Cello Sonata at its core. … Maisky and Tiempo offer perhaps its ideal incarnation – virile, noble, thoughtful, passionate and immensely dramatic. The short pieces and transcribed songs are just as eloquent. The two partners complement each other in both virtuosity and sensitivity – and Tiempo deserves a medal of his own as Rachmaninov’s piano writing in the Cello Sonata is as demanding as in his concertos.”
5 Stars, Classic FM, March 2008
“…the ensemble captures a rare propinquity and joie de vivre, always colourful and polished, avoiding the superficial slickness that can undermine such soulful writing. The sound is always rounded and pleasing.
This is tremendous playing, actually, the Allegro scherzando never losing its grip either and the sonorities of the Andante especially well suffused. Maisky displays a particular rapport with Tiempo in this most Russian of repertoire, and the listener certainly gets the benefit of the duo’s common approach… Although there is much to admire in the Alezander Kniazev / Nikolai Lugansky recording of the Sonata … my preference is for Maisky’s generous tone and the duo’s transcendental teamwork and sheer resilience.
This CD has ample dynamism and energy tempered with long-term vision …”
International Record Review, March 2008
CD Mussorgsky Pictures at an Exhibition, Ravel Gaspard de la nuit, Chopin Three Nocturnes, Op.9 (EMI Classics)
"‘…the Argentine, Venezuelan-born virtuoso presents a stunning calling-card on EMI… Tiempo certainly likes to live dangerously and challenge conventional wisdom. From the first bars of Pictures, one’s eyebrows might be raised at the unusually fast pace of the visitor to the gallery – but allegro giusto is what Mussorgsky asks for and what Mussorgsky gets… if you like character, conviction and imagination in a pianist, then Tiempo’s tour of the exhibition is an enthralling and often exhilarating experience.
The three Nocturnes could almost pass as improvisations. Tiempo is a colourist in love with the infinite variety a piano can produce. As an illustration of discriminating tone and touch they could hardly be bettered. These are qualities that serve Tiempo well in Gaspard, one of the most compelling and dramatic accounts since that of his mentor Martha Argerich."
Gramophone, July 2006
“Fantastic! That is the word which springs to mind on listening to this passionate recording. I haven't heard a performance of Pictures at an Exhibition as personal, imaginative and exciting as this since Moiseiwitch, Horowitz, Richter, Engerer and Pogorelich… Ravel’s Gaspard de la Nuit is also worth its weight in gold. The playing is absolutely finessed… Tiempo brings a sensuality and extraordinary force to the three movements inspired by Aloysius Bertrand poetry. And the colours! And the perfumes! Many versions will now seem bland by comparison.”
Le Monde de la Musique, July 2006