On evidence here, Lisitsa has formidable technical chops, with playing distinguished by quick tempos that hew close to Rachmaninov's own, exceptional clarity of texture, and razor-sharp rhythm and attacks (along with a penchant for full-bodied, Horowitz-style chords). These qualities come forth most strongly in Concerto No. 3, where the pianist's accuracy and detail at such high speeds impresses. 4 Lisitsa's focus and drive does lend shape and clarity, making the music sound less discursive than usual. 2 comes off best, as Lisitsa exhibits genuine feeling and tenderness in the enchanting Andante second movement.
Conductor Michael Francis at last makes his presence known in this work, pointing up Rachmaninov's gorgeous orchestral colors and dynamic shadings. Anyone who heard pianist Valentina Lisitsa.
Knew right away she wasn't just a passing YouTube wonder, but an artist deserving a place at the head table of the world's most interesting classical soloists. The latest keepsake of her highly individual, overtly expressive approach to the piano is this new disc. Lisitsa's selection of pieces is as interesting as her interpretations. The journey drags us from the drawing room to the concert stage and then back again as well as taking us from introspection to extravagant shows of emotion - and back again, as well. Lisitsa's interpretive contribution impresses on many levels: The first, the most obvious, is her unbelievably fluid technique, which doesn't recognize any obstacles; the second is in an absolute clarity in teasing out every musically important idea in each score; the third is making the piano sing seductively from beginning to end.
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This is not just about sparkle and cascading runs and crashing chords. This is about gorgeous music.
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Verdi/Liszt & Schubert/Liszt: They capture everything that makes the original music so captivating, including the singing, while enhancing it with colours and textures that take advantage of everything a modern concert-grand piano has to offer. One could hardly guess.
that Lisitsa can make a piano roar and thunder in the way she does in Liszt's B minor Ballade. nobody matches the enormous wave of sound produced by Lisitsa. Confirmation of Lisitsa's iron-clad technique comes in the ferociously difficult and rarely recorded 'El contrabandista'. As a virtuoso showpiece, designed to whip an audience into a frenzy it is a complete success. Lisitsa is able to exploit its superficial dazzle to the full.
The remaining items are five Schubert song transcriptions - their delicate passagework skilfully executed - and lastly the 'Hungarian Rhapsody' No 12, scintillating and idiosyncratic in equal measure. Hers is always real caution-to-the-winds music-making of flawless technique and great imagination.
Hungarian Rhapsody no. 12: there's a quality to her virtuosity that smacks not of egotism but oft he need to push herself just because she can. I've rarely heard anyone make the keyboard explode with the ferocity and power of this woman, yet never does it sound like mere banging or showing off - instead, as if she's testing the limits of self, of instrument, and of the music.
But it's not all about strength and loudness either - she's capable of a poet's intimacy with a real lyric impulse, as the Ballade readily demonstrates. There is no pianist whose next recording I anticipate more eagerly than Lisitsa's.