Described by Gramophone magazine as “a colourist in love with the infinite variety a piano can produce”, Sergio Tiempo has developed a reputation as one of the most individual and thought-provoking pianists of his generation.
Tiempo established his international credentials at an early age, making his professional debut at the age of fourteen at the Concertgebouw in Amsterdam. A tour of the USA and a string of engagements across Europe quickly followed. Since then he has appeared with many of the world’s leading orchestras and conductors and is a frequent guest at major festivals worldwide.
Born in Caracas, Venezuela, Tiempo began his piano studies with his mother, Lyl Tiempo, at the age of two and made his concert debut when he had just turned three. Whilst at the Fondazione per il Pianoforte in Como, Italy, he worked with Dimitri Bashkirov, Fou Tsong, Murray Perahia and Dietrich Fischer-Dieskau. He has received frequent musical guidance and advice from Martha Argerich, Nelson Freire and Nikita Magaloff and performs regularly with fellow-countryman and friend Gustavo Dudamel including concerts with the Simón Bolívar Orchestra.
Sergio Tiempo has made a number of highly distinctive and acclaimed recordings. On EMI Classics’ 'Martha Argerich Presents' label, he recorded Mussorgsky Pictures at an Exhibition, Ravel Gaspard de la Nuit and three Chopin Nocturnes, and for Deutsche Gramophon he has recorded several discs with Mischa Maisky, including a disc of Rachmaninov which was awarded five stars by Classic FM and the BBC Music Magazine, which also named it their benchmark Recording. Most recently, Sergio Tiempo released a disc of French music for two pianos with Karin Lechner for Avie entitled La Belle Epoque.
In the current season, Tiempo appears with the Bournemouth Symphony, Iceland Symphony, RTÉ Dublin, Gothenburg Symphony, Malmö Symphony and the Hallé Orchestra and makes his recital debuts at the Vienna Konzerthaus and London’s Wigmore Hall, and at the Berlin Philharmonie in a chamber music programme. Future seasons include concerts with the Orchestre Philharmonique de Radio France in Paris and on tour to South America, the Northern Sinfonia, and his recital debut at the Queen Elizabeth Hall in London in the International Piano Series.
Sergio Tiempo is represented by Bridget Emmerson at Intermusica, bemmerson@intermusica.co.uk.
November 2009 / 356 words. Not to be altered without permission. Please destroy all previous biographical material.
"…Virtuosity and technical perfection are never his aim but a means to put into sound his poetical dreams, knight's adventures and musical imagination. For Tiempo, the piano is a natural extension of his inner world, a voice, rather than a mechanical instrument that may be conquered through iron discipline and elastic fingers. Because of that, Tiempo's far from conventional interpretations are not only extraordinarily captivating but also whimsical and, from time to time, elusive." NRC Handelsblad
CONCERT REVIEWS
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
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. His program at the Kennedy Center Terrace Theater on Saturday afternoon included Haydn's delightful Sonata in D, Hob. XVI: 37; Chopin's Sonata No. 3 in B Minor; Ravel's suite "Gaspard de la Nuit"; and the "Consolation" No. 3 and "Mephisto" Waltz No. 1 of Liszt. Still in his mid-30s, Tiempo is nonetheless a seasoned veteran, having made his debut at the Amsterdam Concertgebouw at 14.
Not surprisingly, he is an authoritative Ravel player. 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
Salzburg Festival / Mozart Concerto No.10 for two pianos with Karin Lecnher and Ivor Bolton
“While the beautiful and the rich are busily celebrating themselves outside the festival hall, the audience in the grand hall of the Mozarteum are witness to musical milestones. In the Concerto for Two Pianos in E Flat Caracas-born pianist Sergio Tiempo delighted the listeners with his smooth sound while his Buenos Aires-born sister Karin Lechner was in charge of the melodious highlights. Brother and sister, an internationally renowned piano duo, played together and with the orchestra on the highest levels of tonal perfection and musical interchange. Although this charming, brilliant concerto does not really lend itself to double showmanship, its performance impressed with particular subtlety and magnificence in the piano part. It is a thrill to experience how two quite different temperaments and ideas about sound merge that way.”
Der Standard , August 2007
“The piano concerto was entrusted to Sergio Tiempo and his sister Karin Lechner. The young, delightful Argentineans demonstrated controlled temperament and the cadences allowed them to display their artistic unanimity to the hilt.”
Salzburger Nachrichten , August 2007
CD REVIEWS
Avanti / Karin Lechner / ‘La Belle Epoque’ / Milhaud, Ravel, Fauré, Debussy
“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.”
Award: Excellentia
Pizzicato, September 2009
“There are only two "genuine" works for a duo here and one of them, Milhaud's brilliant Scaramouche opens proceedings. 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.
Scarcely after one regains composure after the Milhaud, does one of the most outrageous transcriptions this listener has ever heard caress the ear. 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 (the only work here for 4 hands, 1 piano) 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
Deutsche Grammophon with Mischa Maisky / Rachmaninov
"[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.”
BBC Music Magazine, Benchmark Recording, Performance: 5 stars; Sound: 5 stars , 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. If Tolstoy had written a cello sonata it might have sounded like Rachmaninov’s, and 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.”
Classic FM, 5 Stars, March 2008
“Recorded live at the Progetto Martha Argerich Festival in Lugano during 2005 and 2006, the ensemble captures a rare propinquity and joie de vivre, always colourful and polished, avoiding the superficial slickness that can undermine such souldul writing. The sound is always rounded and pleasing.
The Sonata’s Lento-Allegro moderato has all the youthful vigour required, connections with the Second Piano Concerto (which just preceded it) always palpable. 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 listened 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.
The ‘Danse orientale’ was given its inaugural performance by the composed and Branukob in 1892, and the Maisky-Tiempo partnetship honours the work, from its opening austere gestures through to the more impassioned moments. This CD has ample dynamism and energy tempered with long-term vision…”
International Record Review , March 2008
EMI Classics / Martha Argerich and Friends Live from the Lugano Festival 2007
“Argerich doesn’t know how to be anodyne, a rarity in a world of countless executants but few musicians. Her “friends”, younger than she, mostly blossom under her influence, notably Sertio Tiempo and karin Lechner, two pianists excellently endowed both technically and artistically to unravel Ravel’s Daphis et Chloé.”
Gramophone , June 2008
“Space constraints make it difficult to do justice to the quantity and diversity of chamber music presented on this splendid recording of live performances from last year’s Lugano Festival… Ravel is well represented in marvellous performances of the second Daphnis et Chloé suite (Sergio Tiempo and Karin Lechner in Lucien Garban’s transcription) …”
International Record Review , April 2008
"Another box of treats from the Lugano Festival’s Martha Argerich project. The latest instalment contains the usual joyfully arbitrary selection of repertoire. Predictably, the array of pianists is particularly rich: Karin Lechner and Sergio Tiempo conjure wonderful atmospheres in a two-piano version of the second of Ravel’s Daphnis et Chloé suites …”
Sunday Times , March 2008
EMI Classics / Mussorgsky Pictures at an Exhibition , Ravel Gaspard de la nuit , Chopin Three Nocturnes, Op.9
"‘…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