The Macedonian pianist demonstrated world-class performance and unparalleled virtuosity in a program that cleverly played with the connections between the works, on Thursday evening at the Maison des Associations et de la Culture Robert-Lieb in Bischwiller.

The festival opened with Macedonian pianist Simon Trpceski on Thursday. He has performed with more than 100 orchestras on four continents. Between a tour of the United States and a production with the Monte-Carlo Orchestra, the concert artist warmly accepted the invitation of the organizers, led by pianist Inga Kazantseva, to give a generous and confident recital to the Bischwiller audience. The works of Beethoven and Tchaikovsky, mirrored, follow one another in the first part to form a sort of gigantic fantasy with protean soundscapes.

The Russian theme from the ballet Das Waldmädchen (a lovely discovery for music lovers!) is echoed by the nostalgic autumn song October by the Russian composer. Dumka, ending in C minor, naturally segues into the Bonn master's 32 variations on a theme of the same key. In any case, one is captivated by the refinement and clarity of this keyboard, with its sparkling articulation and perfectly measured pedal strokes, and its sound appearing diaphanous in the MAC's acoustics. Subtle, clearly outlined intermediary voices emerge at every moment, opening up a permanent dialogue in a superb phrasing that transcends the lyrical essence of the scores. An unsurpassed Nutcracker! More technical, the second part further reveals the artist of the great international halls, whose virtuosity practically defies imagination. If Ravel's Valses nobles et sentimentales constitute a formidable performance, matched by a gesture of perfect purity, the transcription of the Nutcracker leaves one speechless. Trpčeski manages to blend the art of dance, the power of the orchestral palette, and its depth of field with a mastery that is difficult to match. The salutes are pouring in: a Poulenc tribute to Piaf, a Macedonian song, Elgar's Adieu, and above all a festive four-handed performance with co-director Kazantseva, on two Hungarian Dances by Brahms. Vibration(s) couldn't have started better!

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