234th Season

Piotr Anderszewski

Piano

<...> Piotr Anderszewski is unquestionably one of the outstanding and most fascinating pianists of our day. He has very pronounced and personal ideas on the repertoire he plays, and the results are so utterly musical that verbal descriptions tend to detract from the sheer poetry and dynamism that he so potently fuses. His recitals are special events, because there is always a sense that he has something of import to say, and that he will say it through playing of the utmost eloquence. Indeed, it was in Miami that somebody perceptively commented that it was not so much that Anderszewski was playing the piano so wonderfully, but that we were also hearing his mind working. This is the very quality that raises pianism from the merely brilliant to the breathtaking. It is all very well to formulate ideas on how you want to project a piece of music, but having the power to communicate them persuasively takes an extra dimension of artistry. This is what Anderszewski has in abundance. The performances were riveting. It was revelatory.
Geoffrey Norris, Daily Telegraph
31 May, 2003

There is something deeply comforting about the kind of perfection that Polish-Hungarian pianist Piotr Anderszewski brought to his program of Bach, Janacek and Beethoven on Sunday afternoon in Symphony Center<...>
<...> During the two hours or so that they are onstage, artists like Anderszewski manage to create a universe that seems utterly complete unto itself. There is a sense of inevitability in their performance, a feeling that the true essence of a composer's intentions has been discovered. Especially when our daily lives are battered by forces beyond our control, it is reassuring to spend an afternoon in a world of such richly calibrated balance.
Chicago Sun Times
9 December, 2008

But with Janacek's 'In the Mists', which opened the second half of the program, Mr. Anderszewski dipped into deeper reserves of expressiveness. In each of the four movements, a wistful melody curls through an opalescent harmonic haze reminiscent of Debussy's music, then breaks through like a memory growing more acute and detailed. In Mr. Anderszewski's hands, the second movement in particular seemed to evoke a bit of nostalgic romance heard first with a distanced reserve, and again with a vivid passion.

The evening's most overpowering performance came in Beethoven's Sonata No. 31 in A flat (Op. 110). Mr. Anderszewski's attention to dynamic markings, mostly of the soft and softer variety, was fastidious, with exquisite results. If he took any liberties, it was in magnifying Beethoven's expressive indications.
Steve Smith, New York Times
7 December, 2008

Piotr Anderszewski, a slender 39-year-old Polish pianist with a spine-tingling technique, devoted his recital Saturday night at Walt Disney Concert Hall to Bach. He played with pin-prick accuracy. He wasn't unaware of history. But he wasn't unaware either of the Romantic era or the gains and pitfalls of period practice. He knows his Gould, and he knows his own era.<...> He exudes romantic cool, showy but unflappable. His tone is incandescent.
Mark Swed, Los Angeles Times
20 October, 2008

Anderszewski's imaginative grasp in these character sketches was consummate, just as his absorption into the introspective world of Schumann's Humoresque was judged to perfection.
Andrew Clements, The Guardian
14 December, 2007

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