|Concert Reviews 2011|
A sensitive concerto meets a wall of sound at the MSO
Edvard Grieg’s Piano Concerto in A minor, a standard among piano concertos, received a fresh and sensitive treatment Friday morning from Macedonian pianist Simon Trpčeski (pronounced Trrrp’CHESky with a trill) and Edo de Waart’s Milwaukee Symphony Orchestra.
Trpčeski approached the concerto methodically, with clear, biting phrases in the right hand and flowing arpeggios in the left. He treated slow, quiet passages with clarity and light touch and matched the orchestra in fortissimo sections.
The first movement cadenza effectively demonstrated Trpčeski’s style: quiet and reverent, with less flash than many guest artists but more effort to bring the right mood to each phase.
Prayerful, the second movement opened with sparkling, gentle piano phrases, blossoming into a glorious hymn reminiscent of Sibelius sung by winds, then closed reverentially with piano and French horn sharing the theme.
An evening of great satisfaction with HKPO and Rachmaninov
... Despite speeding through the almost inhumanly fast passages Rachmaninov sprinkled profusely throughout the work, Simon Trpčeski never for one moment sacrificed clarity for fluidity. His delicate touch might strike some as being a little diffident, but it enabled him to blend in and speak with, rather talk back at the orchestra, creating a unique sense of unity between the two. During the orchestral interludes, he would gently shake his hands as he let them hang loose, the physical strain on his muscle being palpable...
Philharmonia / Petrenko at the Festival Hall
By Geoff Brown
...before us the Macedonian pianist Simon Trpceski, who is always a pleasure to hear...that a thunderous passage was over, Trpceski’s arms and shoulders leapt back from...as if victims of an electric shock. Trpceski’s clarity of touch and rhythmic mastery...
CBSO/Russian Classics, at Symphony Hall
… Preceding the symphony was Rachmaninov’s Second Piano Concerto. Soloist Simon Trpceski’s delicate touch produced an effective, silvery sound in the concerto’s quieter passages, but balance proved an issue in others with the hall’s resonance chambers fully open in premature anticipation of the symphony…_______________________________________________________________________________________________________________________________________
Joie de Vivre from Frühbeck de Burgos, Trpceski
By Michael Rocha
Trpceski (repeat after me, Trrrrp’CHESky; informative BMInt interview here), a meteorically rising star from Macedonia, beamed out from the stage prior to plunging in, making an immediate connection with both audience and orchestra. This engaged and engaging performer seemed completely at ease as he bounded through this virtuosic romp. His playing was assured and highly energized, almost a tad too much so in the early going, as his initial approach to the thunderous passages made it seem as if he were translating fortissimo to mean “attempt to break string.” After pounding the yelping Steinway into submission, Simon (SEE-mon) settled in and treated us to a buoyant rendition that featured seemingly effortless hand-blurring technique and a tone ranging from feathery to fiery, as Liszt’s score explored the lyrical in addition to the bombastic. The communication lines between conductor, soloist, orchestra, and audience were all wide open, and the not-unexpected standing-O rivaled the performance in terms of enthusiasm. Once again: Trrrrp’CHESky. You may want to practice that until it rolls off your tongue.
Reger, Liszt, and Ravel (BSO, Trpčeski, Frühbeck de Burgos)
By David Allen
Why is Simon Trpčeski not better known? The man is a national hero in Macedonia, and a seriously competent pianist, far more interesting and possessing of interpretative pizazz than so many of the young pianists doing the rounds today. I was privileged, in fact, that he was the first pianist I ever heard in the concert hall – a brash, monumental performance of Rachmaninov‘s Third with the Hallé and Sir Mark Elder that remains the best I have heard live. (He is currently recording the complete Rachmaninov concertos with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra – the Second and Third available here – and gave a stunning rendition of the Second last year at the Proms with Petrenko.)
... Above all, Trpčeski presented a fundamentally Lisztian voice, conscious of influences forwards and back, but not the proto-Rachmaninov one so often, so unfortunately hears. Trpčeski has an old-school, almost patrician tone at times, Ravelian in colouration at others. Needless to say, technical challenges seemed unworthy of the label. An excellent performance, well backed-up by a subtle contribution from Frühbeck and the BSO.
Trpceski’s fresh path to Liszt
By Jeremy Eichler
In between comes Liszt’s Piano Concerto No. 2, which was for me the highlight of last night’s Symphony Hall performance, in large measure due to the Macedonian pianist Simon Trpceski’s fresh, glittering performance.Liszt’s Second Concerto tests not just a pianist’s technical arsenal but also his poetic resources, and Trpceski, an accomplished young pianist making a somewhat belated BSO debut, showed himself equal to every Lisztian task.
Phrasing in the work’s many lyrical moments was highly imaginative, full of air and light, and an audible sense of lift in the sound. Even rapid passagework that can sometimes sound generically virtuosic was here dispatched in distinctively characterful ways, and the many moments in which the piano embroiders themes from the orchestra were played with unerring sensitivity. One hopes that Trpceski, now that he has come to the BSO, will return soon.
Ljubav na prvi pogled pijaniste Simona Trpčeskog i Zagreba
By Denis Derk
Itekako zaslužan za posvemašnji euforični uspjeh filharmoničara bio je i ugledni austrijski dirigentski veteran Leopold Hager, koji je, ruku na srce, zbog eteričnog Trpčeskog mogao malo i obuzdati orkestralni tajfun. Bila je to ljubav na prvi pogled. Ne samo da je makedonski pijanist svjetske slave Simon Trpčeski rasprodao pretplatnički koncert Zagrebačke filharmonije, nego je svojom tankoćutnom i virtuoznom interpretacijom Lisztovog Drugog koncerta u A-duru za klavir i orkestar izborio zasluženi burni pljesak. A pljesak je bio toliko dug da je izmamio dva izvrsno odabrana bisa.