Related Reviews
Fono Forum
5 Stars
'...ist einfach beglückend.'
more >>
Pizzicato
4 Stars
'Fliter is an outstanding performer in both of Chopin’s Concertos, and her sonorous though also poetic playing is complemented by a very transparent [and] rhetoric orchestral sound.'
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Ming Pao Weekly
‘Fliter has a superb sense of line, dynamic and rich colour variations that come naturally…’
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BBC Radio 3 'CD Review'
'Disc of the Week': 'It’s wonderful when you realize Fliter achieves so much by emphasizing Chopin’s inwardness, the intimacy...'
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AllMusic.com
4½ Stars
'...this splendid recording reaffirms her affinity with this composer and promises more excellent performances for Linn.'
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Sinfini Music
5 Stars
'And her phrasing! That is a thing of immense subtlety and beauty, as is the liquid ease of the more virtuoso passages.'
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The Sunday Times
'Fliter's beautifully considered accounts of the two Chopin concertos...reveal a sensibility of rare emotional refinement and high Romantic instincts.'
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The Telegraph
5 Stars
‘Ingrid Fliter was born to play Chopin with power and passion and is completely at one with the music's demands of agility, vim and vigour.’
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MusicWeb International
‘There’s plenty of bravura and power in the outer movements without any sense of showing off and there’s poetry in the slow movements…’
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The Scotsman
4 Stars
'The solo playing is exquisite, liquidly expressive in the slow movements, firm-toned but dance-like and deliciously pliable in the faster ones.'
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The Big Issue
‘Argentinian pianist Ingrid Fliter brings a light touch, fresh spirit and beguiling sensitivity to her new recording of Chopin piano concertos…’
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Classics Today
'The Scottish Chamber Orchestra's beautifully delicate playing perfectly highlights Fliter's authoritative and expressive performance.'
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Classic FM
Album of the Weekend: 'It's a breathtaking performance...'
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BBC Music Magazine
4 Stars
'The outer movements of both Concertos have an authoritative confidence and are often coloured with beautifully judged dynamic shading, while the slow movements, especially of No. 2, are beautifully poised and poetic.’
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The Guardian
4 Stars
‘This is very much Chopin playing in the great tradition: rich-toned, generous though never profligate with its rubato, and invested with a vast range of keyboard colour.’
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SA-CD.net
4½ Stars
‘The scintillating performances of the outer movements of these two concertos exemplify this pianist's immaculate technique and excellent musicianship.’
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Classic FM
Album of the Week: ‘It’s a breathtaking performance.'
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The West Australian
'Her dynamic control was captivating'
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The Australian Telegraph
'Chopin at his most lyrical and poignant...'
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Ingrid Fliter - Scottish Chamber Orchestra - Chopin: Piano Concertos - Gramophone


04 March 2014
Gramophone
Jeremy Nicholas

Ingrid Fliter received rave reviews for her two all-Chopin discs for EMI - that of the Waltzes (12/09) remains among the best of many rivals - so how does she fare on this, her first recording since singing with Linn?

Within a couple of pages (after a lithe and poised account of the E minor's lengthy orchestral introduction) I was hooked. Why? Listen to the conversational effect she brings to the passage at 5'50" - the same configuration repeated four times - which are generally played with little differentiation. Fliter makes them immediate and personal and, when followed by the heard-achingly lovely second subject at 6'38", all resistance is futile. True, she sails perilously close to over-sentimentalising the opening of the Romanza. For me, no one has ever surpassed Josef Hofmann (fluffs and all) in his live radio recording from 1938, but Fliter plays with such grace and heartfelt sincerity - abetted by some lovely duetting with the SCO's bassoonist - that, again, I was quickly won over.

The F minor is, if anything, even finer, notable for the icy chill she and the SCO strings bring to the dramatic central section of the Larghetto (note the cleanly articulated contributions of the basses). The finale, like that of the E minor, dances with joyful buoyancy, Fliter reminding us how much of it Chopin asked to be played pp, ppp and leggieramente, requests to which not all pianists are so alive. The point is, if an artist cannot engage your emotions in the oft-recorded, oft-heard music then they might as well go away and breed chickens. Fliter, by whatever magical means, touches the heart.


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