I seldom select concerts to review based on performer. An interesting programme is usually what will pique my interest, and this was certainly true when browsing the Wigmore’s spring season of concerts: it is unusual to find Ligeti and Messiaen in the same programme. I didn’t know the performer and was unaware at the time of booking the concert that he was first prize and gold medal winner of the prestigious Arthur Rubinstein International Piano Master Competition.
Winners of competitions are often paraded before audiences with the promise of greatness. Generally young performers poised on the brink of an international career, too many may offer a bland synthesis of music, technically polished but lacking in insight or maturity. Not so Antonii Baryshevskyi, a young pianist from Kiev, whose impressive Wigmore Hall debut combined pristine technical facility and consummate musicality in a challenging and highly varied programme.
Who or what inspired you to take up the piano, and make it your career?
When I was 4, my parents bought a piano from a friend. No one in my family plays an instrument, so it happened by chance. Soon after, my musical abilities were discovered – I had perfect pitch and good musical memory, and I started taking piano lessons and other musical classes at the music school in my hometown, Dnepropetrovsk, Ukraine. Another turning point was when I was accepted at the age of 13 to study at the Special Music School for gifted students in Kharkov, Ukraine. Somehow, I never questioned my desire and intended to become a musician after that.
Who or what were the most important influences on your playing?
My piano teachers – Victor Makarov in Ukraine, probably one of “the most wanted” teachers in the country at that time, whose knowledge, musicianship and energy still inspires me; Alexander Volkov in Israel, who taught me to better hear and convey beauty of music; and Solomon Mikowsky, who helped me to refind my musicianship and find my own voice.
What have been the greatest challenges of your career so far?
To find the true meaning of every piece I work on, and to match my inner image to what comes out my fingers. Also, to find fresh view on the pieces I’ve performed many times.
Which recordings are you most proud of?
My all-Schubert CD
Do you have a favourite concert venue to perform in?
Palau de la Musica Catalana in Barcelona; Preston Bradley Hall at the Chicago Cultural Center, Tel Aviv Museum of Art
Favourite pieces to perform? Anything by Schubert; Schumann Humoreske
Listen to? Mozart Symphonies, anything by Bach. Also, recently – music for Soviet cartoons (I discovered that those are masterpieces! Listening together with my now 11 month old daughter)
Who are your favourite pianists?
Sviatoslav Richter, Emile Gilels, Vladimir Horovitz, Arthur Rubinstein
What is your most memorable concert experience?
Performing in a two-piano encemble with a blind pianist, Carlos Ibay in a concert dedicated to 60th birthday of Israel in Jerusalem in 2008.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Stay true to yourself. Do not try to copy anyone, or “please” anybody. Try to find your own, unique calling in music.
What is your idea of perfect happiness?
To be busy working on many interesting projects alone or with inspiring musicians (this may happen!), and to have an adequate time to spend on those projects, family, and rest (this may never happen!)
Inesa Sinkevych is a Ukrainian born Israeli concert pianist, currently living in New York. Her recent CD, ‘Schubert Piano Works’ was released in 2012. She has performed as a soloist with the Israeli Philharmonic, Minnesota Symphony, Gulbenkian Symphony, Gran Canaria Philharmonic Orchestras, as well as solo recitals in such venues as the Purcell Room at the Queen Elizabeth Hall in London, Palau de la Musica Catalana in Barcelona, and Merkin Hall in New York. She was awarded top and special prizes at the Arthur Rubinstein International Master Piano Competition in Tel Aviv, Piano-e-Competition in Minneapolis, Vianna da Motta International Piano Competition in Portugal, among others. She received her DMA from the Manhattan School of Music.
Ukrainian-born pianist Valentina Lisitsa first performed at London’s Wigmore Hall in late 2007. Since then, she has gone on to achieve an almost cult following on YouTube, due in no small part to her selfless posting of videos of her practice sessions, usually the most private and personal preserve of the musician’s working life. I suspect that these glimpses into her daily musical routines have endeared her to her followers, proving that she, like the rest of us, has to work hard for her art. Clearly adept at harnessing the relatively new medium of YouTube and its associated social networking applications, she has enjoyed a cool 70 million clicks on her videos together with concerts at The Yellow Lounge, a neat concept established in Berlin in 2006 to bring classical music to a much younger audience by holding concerts in nightclubs.
I admit to being slightly wary of anything or anyone that is labelled “a sensation” or “must see/hear” (ditto “iconic” – a word which should probably be banned from all publicity material and reviews of musicians, books and art exhibitions!). However, I was curious to hear Valentina Lisitsa in concert as I had read largely positive things about her live performances, so I went to hear her at Wigmore Hall on Monday lunchtime with ears and mind very much open and receptive.
Ms Lisitsa is tall and slender, with long blonde hair, her lissome frame accentuated by a simple black gown and spindly stiletto sandals. Her stage presence is modest, demure almost: there are no flamboyant gestures or crowd-pleasing piano pyrotechnics beyond those technical theatrics necessarily for the music and when she plays she seems entirely focussed on the task in hand. For her lunchtime programme she presented two very well-known and highly dramatic sonatas – Beethoven’s ‘Tempest’ and the craggy, Herculean Liszt B-minor, serious fare indeed.
The opening arpeggio of the Beethoven seemed unnecessarily elongated, so that its natural drama threatened to veer into the realms of cliché. However, taken with the explosive agitated first subject, when this motif reappeared, once again over-stretched, the effect was mysterious and convincing. A slow movement of beguiling warmth and tenderness prefaced an elegantly-turned finale, its tempo sufficiently reined in to allow us to enjoy Beethoven’s expression and inventiveness. I heard Maurizio Pollini play the same Sonata at the Royal Festival Hall a fortnight ago, and while the Italian maestro may have offered a more probing account born of many years spent living with this music, there was much to admire in Ms Lisitsa’s performance and there was no doubting her commitment, meticulous preparation, technical fluency and attention to detail. This proved a highly engaging reading of one of Beethoven’s best-loved Sonatas.
Liszt’s B-minor Sonata is a strange creature: heard on disc it can sound sprawling and disparate, but heard live and done well, it is a staggering music edifice. (Liszt scholar Alan Walker described it as “arguably one of the greatest keyboard works … of the nineteenth century”.) It takes an intelligent and daring pianist to pull all the elements together to create a whole. Divided into defined sections, demarcated by different tempo and expression markings – in effect, “movements” – these sections flow into one another, creating a single movement of non-stop music, lasting about 30 minutes.
Ms Lisitsa’s account had the requisite power and darkness in the opening statements, the famous theme which returns throughout the work. Her transitions between the sections were sensitively nuanced, creating a continuous, coherent narrative. There were moments of great transparency of sound, lyrical cantabile playing and delicate pianissimos. Her foot may have strayed to the una corda pedal a little too often in these passages, but overall her account was authoritative, at times thrillingly precipitous in the allegro and presto sections.
Checking with Sara Mohr Pietsch, the BBC Radio Three presenter for the concert, that an encore would be “allowed”, Ms Lisitsa gave a serene performance of Liszt’s transcription of Schubert’s Ave Maria. This was followed by a coruscating Chopin Etude (Op 10, No. 12), proving that she is very much a “real pianist” and one who, by her own admission on Twitter in the hours following the concert, “here to stay”.
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