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in recital Virtuoso Korsakova The young Russian violinist Natasha Korsakova's appearance at the last concert of the Gli Incontri dell'Accademia 2007 exhibition certainly struck a chord. The Sala Maffeiana was completely sold out, right down to the very last seat. And people's interest was duly rewarded. The concert violinist proved that she has several strings to her bow – both in terms of her innate musicality and her virtuosity. With a perfect mixture of spontaneity and tenderness, the soloist demonstrated in the final section of the concert her exceptional command of the instrument, which she no doubt owes to her father Andrei's tuition, himself a famous concert musician. Under her command, the violin begins to sing, the sound is pure, authentic and so full of intimate expressiveness that the interpretation never once drifts into monotone and weak sentimentality. This rings particularly true in her interpretation of Mozart's Sonata KV 454 Andante and the Sonata, Opus 12 no. 1 variations by Beethoven, which she performs with great elegance and originality supported by the unusually powerful playing of her colleague, the Argentinean pianist José Gallardo. Korsakova's enthusiasm is tangible and infectious – which is true for Gallardo, too. He accompanies her throughout with empathy and in perfect harmony. And yet for Debussy's sonata in G Minor, the central part of her performance, she even seems to go one better. Her Très anime in the finale in particular – an absolutely unleashed Gigue, interpreted flawlessly with its emphasis of creative momentum and joie de vivre – is astoundingly good. The concert ends with a humorous – and, of course, perfectly executed – allusion to the popular Gershwin of "An American in Paris" (in an arrangement by Heifetz) and the fantasy of "Porgy and Bess" (in an arrangement by Frolov). With the famous Summertime theme, Korsakova scales the heights of her performance with great intensity and interpretive skill, Gershwin's music, however, always remaining centre stage. Both artists received resounding applause and finished with an encore from Lehàr‘s "The Merry Widow". All the colours of Gershwin on stage First the music, then the text. In anticipation of the contributions from the organisers, guests and official artists, the violinist Natasha Korsakova and pianist José Gallardo created a seductive acoustic framework for the official presentation of "America!" on the stage of the Teatro Grande and whisked the audience away to the staves of the New World. The short, powerful concert with Jascha Heifetz's arrangements where the violin has the challenging task of making Gershwin's melodies blossom in all their tonal shades, sketched what before was an unfamiliar picture of the composer George Gershwin. They started off with five pieces from the opera "Porgy and Bess", five wise fragments hovering between European form and American rhythm, José Gallardo at the piano who embellished the tones Korsakova's violin had delivered in broad spans of volatile and enticing play abound with contrasts. Sublime contradictions, the hallmark of Gershwin's music – elite and popular, light and refined at once – which strike a unique and wonderful balance in "Summertime", one of the better-known and frequently performed works of the American author. Korsakova's fiery lyricism and bitter-sweet play is irresistible. Gershwin's music in "An American in Paris" immediately after, appears more high-spirited and less respectful. Originally composed as a symphony and colourful Aladdin's cave of acoustic invention, the work loses some power and subtle tonal richness in the version for piano and violin. At the same time, the acerbic self-mockery of the American's dissonant encounter with Europe is made clearer in the musical narration. A brilliant performance with sparks of humour flying between strings and bow; the quaint sound effects are left up to the ivories. The finale: two short preludes, fleeting water colours arising from the successful mixture of bright melodic brushstrokes and a constantly powerful, rhythmic bow. Carried away in an intimate and pleasant tête-à-tête with the piano, the violin ignites with folk sounds, enlaced with classical reminiscences and pop echoes. Finally, genuine applause for the artists and the musical magic of America. Third Castle Festival Weekend: Impressive Finale for Musical Highlight “… Four songs from “Much Ado About Nothing” by Erich Wolfgang Korngold, an inspirational stroke of genius to which the audience gratefully responded. The entire audience in any case glowed with radiant delight thanks especially to Natasha Korsakova and her violin. The Russian violinist gave a virtuoso performance of the four Korngold songs – attacking, yet tender, spellbinding and bewitching in her charm, and truly moving with her play. Her accompanist on the grand piano, Ira Maria Witoschynsky, also adopted an exquisitely consistent and subtle, relaxed style. All the musicians truly deserved the rapturous applause at the end …” Exotically Coloured Farawy Kingdoms, Sensual Encounter "… The narrative approach that Korsakova adopted to conjure her unique violin playing is probably explained by the fact that she is also a budding author. After the brilliantly contrived allegro, a delicate and yet passionate andante was unravelled that Gallardo embellished with richness of tone. It was a sheer delight to listen to the aesthetically pleasing technical accomplishment of the acclaimed and award-winning pianist… The allegretto and finale also developed into fireworks that were not showy, but full of bright flashes of light. They soon faded when Beethoven’s C Minor Sonata Op. 30/2 created a dramatic turning point. Here, too, an image of Greek plasticity was crafted, held with excitement and aroused emotion… Throughout the adagio, Gallardo unveiled sensitive warmth, within which Korsakova was able to define an intimate song culminating in a scherzo with a strong feel for emotional rhythm. Gallardo especially mastered the energetic and fiery dimension. But in Beethoven’s allegro finale, Korsakova also signalled the theme for the second half: bravado in all its diverse hues. Jascha Heifetz, the legendary violinist, had arranged the five fragments from "Porgy and Bess" by George Gershwin for a duet by violin and piano. Exactly as in Paganini’s famous piece, it was mainly about putting on show the full range of different virtuoso violin-playing techniques – and Korsakova achieved the same, although thoughtfully. She sought differentiation, not instant effect, and was in harmony with the magnificent piano part played by Gallardo …" Revelation in the "Back Room" – Natasha KORSAKOVA and Robert POBITSCHKA give a concert at Grosser Ehrbarsaal, Vienna Magnificent ensemble playing of an extremely talented duo Castle Festival Season, with Stunning Finale "… It was sheer brilliance: the violinist, Korsakova's contribution to the evening embraced the concert hall with her intoxicating charisma. Her mimicry was rapturous one minute, and resolute, even reserved the next, only revealing her extraordinary empathy and great presence. Her final piece, "D'un Matin de Printemps" by Lili Boulanger, was a sensational triumph. The Korsakova/Witoschynskyj duet outshone each other with their inspirational and captivating sense of drama, although they were also restrained, until they each finally raised the stakes, unleashing a stunning finale with unbelievable intensity. The two artists achieved unbelievable, almost perfect harmony, sheer excellence, and they are evidently also genuine and delightful personalities, who each deserved the audience's adoration, the cries of bravo, the encores, and the tumultuous applause. The final evening of the Castle Festival Season was a resounding success." Great art with violin and piano A truly special concert Natasha Korsakova, violin Caspary Auditorium The Rockefeller University 11.03.2005 "Natasha Korsakova is an exceptionally talented violinist. She performs with utmost insight into the works she plays, interpreting with a gift for feeling what the composer most likely felt and transmitting it to the audience. Those in attendance on March 11th were in awe of Korsakova's excellent technique, but even more enraptured and galvanized by her exquisite tone and great personality on stage. It didn't hurt that her pianist, Jose Luis Gallardo, was in perfect sync with her—both ensemble-wise and personality-wise. They gave consistently polished performances throughout their fantastic recital. In Beethoven's Sonata No. 8 in G, Korsakova played with a strong, velvety sound. Gallardo provided a light, but distinctive touch, bringing rhythmic excitement to the music without overpowering his partner. Their energy never lulled, a witty sense of humor prevailed throughout, and their phrases were rendered with elegance and finesse. The second movement in particular had an abundance of refined balances, color and tempo changes. The ritardando at the end of the second movement, for example, was perfectly timed—embellishment at all.In the solo work by Ysaye: L'Aurore from the Sonata in G, op. 27 No. 5, Korsakova sounded a bit more cautious, but she pulled off the tricky double stops and leaps without any problems. The following piece: the Heifetz arrangement of Gershwin's 5 Fragments from "Porgy and Bess" was brilliantly performed. Korsakova souped up the portamenti (slides) with both flair and taste. And she sounded as if she belonged on stage at the MET with the cast of the opera, as she sang Gershwin's inspired melodies on her fiddle with loyalty to the text of the original songs and the characters that sing them. She also belted out a big, lush sound. One of the reasons her beautiful sound projects so well is that throughout the program, she always applied a full bow—going from the very frog to the very tip. Naturally, she varied the degrees of the bow's speed and pressure, providing stylistic and coloristic contrasts that make her the interesting performer she is.The Gershwin was great, but it was amazingly topped by an electric performance of Sofia Gubaidulina's magnificent arrangement of Piazzolla's "Grand Tango". Their playing swayed, popped out and teased, but more importantly, it builded momentum from start to finish, with Gallardo adding climactic, virtuosic touches toward the end. He is a fabulous pianist and chamber music player—technically brilliant, yet both sensitive and energetic when he is not prominently on display. This fantastic pair of performers needs to come to New York again soon. Carnegie Hall, are you listening?" A stunningly beautiful listening experience Natasha Korsakova and Oleg Poliansky in Wigmore Hall, London "… Natasha Korsakova looks straight out of a painting by Augustus John, but there‘s nothing meretricious about her fastidiously sensitive playing. Opening with Bach‘s Chaconne, she brought out the grandeur and sweep of this daunting work – in which the violin must take on all the colours of the orchestra – with relaxed authority… After the interval, fireworks. Korsakova delivered Saint-Saens's bravura study, the valse Caprice, with impeccable precision and an impish smile. Ravel‘s sonata in G-Major made an exhilarating finale. They gave a Gershwin encore, and then a piece of Grapelli-style swing, as though the party was just getting into its stride. More, please! These charismatic performers should be brought back without delay!" "… Natasha Korsakovas dynamic range, tone and intonation were worthly of the highest praise." |
