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Daniil Trifonov, piano in Firenze


Daniil Trifonov, piano recital in Firenze

Daniil Trifonov, piano recital in Firenze

Patients usually do not volunteer their problem with ED.functioning and 84% said they had never initiated a sildenafil citrate.

. Foto: J. Kruk.

Teatro della Pergola, 2014 November 29th

Review by Fabio Bardelli.

Program: 

Johann Sebastian Bach – Franz Liszt: Fantasia e fuga in sol min. BWV 542

Ludwig van Beethoven: Sonata n. 32 in do min. op. 111

Franz Liszt: Dodici studi di esecuzione trascendentale S. 139

FIRENZE/ITALY: This Florentine recital of young Russian pianist Daniil Trifonov was not his absolute debut in Firenze.

Two years ago he played Chaikovsky’s Concert under the baton of Diego Matheuz in the old Teatro Comunale. Even if he was really very young at that time I was really impressed by his way of playing piano, and now he seems to confirm absolutely his promises.

We must start for this review by speaking about Trifonov’s Liszt, and above all his Studies of trascendal execution that are a techinical and expressive “Everest” for each virtuoso. Daniil Trifonov faces them with no exitation, alterning moments of extreme virtuosity to rarefied athmospheres, always with an exceptional mastery of his instrument, apart some inevitable inaccuracies.

We can’t detect any youth immaturity when Trifonov play at the contrary his youth self-confidence exalts the rhapsodic gait of these visionary music: the age and the 20 years recklessness make sometimes possible these miracles
. In his interpretation Liszt is bright and unrestrained, with the full sound and the iridescent palette of his instrument, and Trifonov goes wild when a speedy touch is needed. Liszt seems almost to have written specially for Trifonov these masterly pages, with moments of high descriptive value, played very poetically by the pianist.

Russian pianist Daniil Trifonov, Photo: tba

The first part of the concert was less interesting, with Bach-Liszt’s Fantasia e fuga BWV 542 and Beethoven’s Sonata nr. 32 opus 111.

In the Fantasia, the soloist play his piano almost as an organ, with full sounds and great use of pedal.

On the contrary the Fuge was rather apollineous, rendered with a light touch.

In Beethoven’s Sonata I think that Trifonov exchanged phonical intensity for expressive intensity, and that he went on page after page without a general view of the score, even if the very famous second moviment was rather well played.

The success by the audience that filled the house became a real triumph after Liszt, unfortunately the pianist gave no encore.

Review by Fabio Bardelli

translation from italian Bruno Tredicine

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