Elisso Virsaladze
Emanuel Rimoldi is an extraordinary artist with a particular ability to create a highly refined range of sounds. His interpretations are very interesting and original, having always something unsuspected which surprise all the time.
Alexander Toradze
Emanuel Rimoldi is a true concert artist. He has his own unique and captivating vision of music.
Emanuel is a searching musician. He always offers a fresh and personal view of the compositions performed and achieves overwhelmingly satisfying results. Emanuel is in possession of powerful musical personality, stellar technique, high quality of piano sound, all of which creates a powerful emotional involvement of the listeners.
Emanuel is a searching musician. He always offers a fresh and personal view of the compositions performed and achieves overwhelmingly satisfying results. Emanuel is in possession of powerful musical personality, stellar technique, high quality of piano sound, all of which creates a powerful emotional involvement of the listeners.
Bruno Monsaingeon ( http://www.brunomonsaingeon.com )
An extraordinary talent......His technical mastery is so oustanding that one does not even notice it, whatever the repertoire concerned. Emanuel Rimoldi is posessed not only of a deep understanding of the style at hand, but also of a most original conception which he is able to convey to the listener without a trace of artificiality and with enormous conviction.
READ
When I first heard Emanuel Rimoldi, it did not take me long to realise I was in the presence of an extraordinary talent. His technical mastery is so oustanding that one does not even notice it, whatever the repertoire concerned.
This is however saying little. More important is his relationship to music. Here, Emanuel Rimoldi is posessed not only of a deep understanding of the style at hand, but also of a most original conception which he is able to convey to the listener without a trace of artificiality and with enormous conviction.
I have heard him in works by Bach, Schubert, Schumann, Rachmaninov and Prokofiev, and on every occasion have been amazed how his prodigiously versatile playing style adjusted to the specific expressive tenor of each different composer.
Considering his wide ranging repertoire, the nobility and charm of his personal charisma, and the profound originality of his musical approach, I have no doubt that Emanuel Rimoldi is now ready for an important international career.
Bruno Monsaingeon
This is however saying little. More important is his relationship to music. Here, Emanuel Rimoldi is posessed not only of a deep understanding of the style at hand, but also of a most original conception which he is able to convey to the listener without a trace of artificiality and with enormous conviction.
I have heard him in works by Bach, Schubert, Schumann, Rachmaninov and Prokofiev, and on every occasion have been amazed how his prodigiously versatile playing style adjusted to the specific expressive tenor of each different composer.
Considering his wide ranging repertoire, the nobility and charm of his personal charisma, and the profound originality of his musical approach, I have no doubt that Emanuel Rimoldi is now ready for an important international career.
Bruno Monsaingeon
Music web International from Latina.
Intimacy is a Rimoldi Speciality... He takes you through this music as someone who has stripped it of all superficialities-and ofter he delivers in an assured, confidential whisper... Most young pianists make their mark overwhelming their audience. Rimoldi has a much more risky, original approach: he preceeds by seduction. O Frederyk Chopin! ... Could you have been living at this hour !
read
Chopin by Seduction
In Chopin Rimoldi has found the ideal composer of his unique talent. The main difference beetween a good pianist and a great one is that the latter will cause the listener to hear and understand matters which he had not previously known in this music. Chopin did not live into the age of recording but there have been some intelligent speculations from Charles Rosen and others as to how he played. All there experts are agreed on at least one thing : Chopin’s preferred venue was the salon-a small, private room with a few intimate friends. Intimacy is a Rimoldi Speciality. He takes you through this music as someone who has stripped it of all superficialities-and ofter he delivers in an assured, confidential whisper.
Most young pianists make their mark in a highly competitive, overcrowded field by overwhelming their audience. Rimoldi has a much more risky, original approach: he preceeds by seduction. His Chopin offering were the Polonaise-Fantasie Op61 and the four op17 Mazurkas. By the time he arrived at the A minor mazurka (no4) he must have been aware that he had the audience eating out of his hands: he reduced the volume so that the audience had to strain to hear the pianissimo . But the reward was the quality of the pianissimo the seducer had led us into.
O Frederyk Chopin! O Isaiah Berlin ! Could you have been living at this hour !
Jack Buckley , Music web International
Leipziger Volkszeitung from Gewandhaus of Leipzig
The young Italian pianist not only seduces the audience with his virtuoso refineries and brilliant technique, he can also make every sound personal as if it was his own. He expresses every nuance, every fascinating shade, which sounds transfigured, with clarity, with mild sweetness,with lively cheerfulness not without strength and harsh cruelty.
Read
Klavierkonzert
Klarheit, Verklärung, Fröhlichkeit
A large number of people are gathering in Gewandhaus Augustus Square Liepzig on Saturday night..
Many are attracted by the ballet in the Main hall, a great interest though is raised by the piano concert.
Here in Mendelssohn Hall true lovers of music are reunited. No-one hears a single cough, Emanuel Rimoldi at a Steinway piano is able to spell a magic power over the audience. This has occurred since the beginning of his performance of Shumann’s Scenes from Childhood op. 15. , the piece is often part of the demanding repertoire for the young learner, but it is also a challenge for the expert pianist, with its full microcosms.
In „Von fremden Ländern und Menshen“ Rimoldi succeeds in creating a magical atmosphere, one can almost see that unknown island, shrouded in fog appearing in the mist over a ship’s head.
The pondered tender tones produce an intense breathtaking pianissimo with its alternative melodies and overwhelming galloping.
Even Humoreske in B flat major op. 20 is in good hands with the young pianist, who was born in 1986, and who won the first prize at “ Top Of The World Competition “ in Tromso, Norway last year.
The first bravo is cheered by the audience when the pianist is responding with a sort of physical emotion, leaning backward and forward enraptured over the keyboard.
After break time the pianist performance of Procofjef Sonata n.4 in B minor op.29 is highly cheered for its tender /strong sounds, the initial calm turns into a deep melancholy and a sweet/sour pain.
In Verdi’s „Danza Sacra e duetto finale“ from the opera Aida in the Lizst piano transcription, and in The Hungarian Rhapsody n.12 B minor S244/12, the excellent pianist is an exuberant virtuoso, strong oriental motives are hidden behind the tender silk veil of Aida, a deep breath is taken with the Magyar rhythms of the Rhapsody.
The young Italian pianist not only seduces the audience with his virtuoso refineries and brilliant technique, he can also make every sound personal as if it was his own. He expresses every nuance, every fascinating shade, which sounds transfigured, with clarity, with mild sweetness,with lively cheerfulness not without strength and harsh cruelty.
At the approaching end of the concert, the young Rimoldi obviously also knows how to read the minds of his audience, their silent desire of a never ending music.
After the final ovation he is invited three more times to encores.
Birgit Hendrich , Leipziger Volkszeitung
Klarheit, Verklärung, Fröhlichkeit
A large number of people are gathering in Gewandhaus Augustus Square Liepzig on Saturday night..
Many are attracted by the ballet in the Main hall, a great interest though is raised by the piano concert.
Here in Mendelssohn Hall true lovers of music are reunited. No-one hears a single cough, Emanuel Rimoldi at a Steinway piano is able to spell a magic power over the audience. This has occurred since the beginning of his performance of Shumann’s Scenes from Childhood op. 15. , the piece is often part of the demanding repertoire for the young learner, but it is also a challenge for the expert pianist, with its full microcosms.
In „Von fremden Ländern und Menshen“ Rimoldi succeeds in creating a magical atmosphere, one can almost see that unknown island, shrouded in fog appearing in the mist over a ship’s head.
The pondered tender tones produce an intense breathtaking pianissimo with its alternative melodies and overwhelming galloping.
Even Humoreske in B flat major op. 20 is in good hands with the young pianist, who was born in 1986, and who won the first prize at “ Top Of The World Competition “ in Tromso, Norway last year.
The first bravo is cheered by the audience when the pianist is responding with a sort of physical emotion, leaning backward and forward enraptured over the keyboard.
After break time the pianist performance of Procofjef Sonata n.4 in B minor op.29 is highly cheered for its tender /strong sounds, the initial calm turns into a deep melancholy and a sweet/sour pain.
In Verdi’s „Danza Sacra e duetto finale“ from the opera Aida in the Lizst piano transcription, and in The Hungarian Rhapsody n.12 B minor S244/12, the excellent pianist is an exuberant virtuoso, strong oriental motives are hidden behind the tender silk veil of Aida, a deep breath is taken with the Magyar rhythms of the Rhapsody.
The young Italian pianist not only seduces the audience with his virtuoso refineries and brilliant technique, he can also make every sound personal as if it was his own. He expresses every nuance, every fascinating shade, which sounds transfigured, with clarity, with mild sweetness,with lively cheerfulness not without strength and harsh cruelty.
At the approaching end of the concert, the young Rimoldi obviously also knows how to read the minds of his audience, their silent desire of a never ending music.
After the final ovation he is invited three more times to encores.
Birgit Hendrich , Leipziger Volkszeitung
| gewandhaus_review_german.pdf |
Nordwest Zeitung from Staatstheater in Oldenburg
An authentic leon of the keyboard... With a superior sovereignty in the music, he has the capacity to evince from the composition it's most profound essence. Thanks to his spontaneity combined with a solid sense of the form...and a fully controlled range of the expressive capacity taken until the extreme points, he is able of a total immersion in the most subtle details of the music with sensuality, vitality and musical humor, electrifying the listeners and being repaid with frenetic applauses.
READ
Hörvergnügen mit frenetischem Applaus belohnt
OLDENBURG Mit Emanuel Rimoldi, 1986 in Mailand geboren, trat eine mittlerweile an den großen Bühnen der Welt bekannte pianistische Hoffnung im Kleinen Haus des Staatstheaters an, um seinem Ruf als zwar technisch perfekter, aber sich minutiös das Substantielle der Komposition erarbeitender Klaviervirtuose gerecht zu werden.
Historisch sinnvoll gereiht begann die Matinee mit der Klaviersonate fis-Moll von Muzio Clementi, der um 1800 ein bedeutender Konzertpianist und berühmter Klavierpädagoge war. Clementi, dessen Spiel, vor allem seine Legato-Technik, stilbildend war, wurde durch Rimoldi geradezu luxuriös wiedergegeben, kraftvoll, durchsichtig, melodisch und rhythmisch akzentuiert, gewissermaßen mehr aus der Vorlage herausholend, als an Substanz in ihr steckt. Vor allem gab diese Interpretation einen Vorgeschmack auf das Folgende: Rimoldi öffnet mit seinem Spiel die innere Theatralik und Dramatik einer Komposition und entfaltet ihre Ausdrucksmöglichkeiten in ihrer ganzen Spanne, auch die Extreme nicht scheuend.
Für einen derartigen Interpretationsansatz eignet sich kaum ein großes Werk besser als Robert Schumanns Fantasie C-Dur op. 17. Mit dem über alles verehrten Beethoven im Gepäck marschierte Schumann 1836 gegen die verhassten Philister und Spießer an, vor allem aber gegen seinen Schwiegervater, der ihm die über alles geliebte Clara verweigerte. Besonders der kühne erste Satz ist einer der tiefgründigsten und schwierigsten der ganzen Klavierliteratur. Rimoldi hielt sich dem Geist nach an Schumanns Vorgabe, „durchaus fantastisch und leidenschaftlich vorzutragen“, fand die jeweils überzeugende Balance zwischen Hauptstimme und den atmosphärisch verdichtenden Nebenstimmen, zerdehnte die Zeit und das Empfinden fallweise bis kurz vor der Auflösung des Zusammenhangs, um mit einem betont dynamisch-vitalen Wiedereinsetzen ganz bewusst spannungsgeladene Schwerpunkte in einer ganz bewusst inszenierten Dramaturgie zu setzen. Bei aller spielerischen Leichtigkeit und zur Schau gestellten Spontanität, beim Auskosten der ganzen Amplitude des Ausdrucks und der Ausdrucksmöglichkeiten, bei dieser der den Extremen zugeneigten Schumann-Interpretation verlor sich nie die ordnende, kontrollierende und disponierende Formkraft. Was sich so sinnlich und vital anhörte, war vor allem musikalische Bewusstheit und überlegene Souveränität gegenüber dem Material.
Sergeij Rachmaninows zehn Préludes op. 23 (1901 – 1903) gaben die Gelegenheit, von zart bis hart, von echtem Tastenlöwe-Gehabe bis zur Versenkung in subtilste Details alles an pianistischem Können und Geschick auszupacken. Alles, was eine Klavier-Matinee anregend, spannend, genussvoll und kurzweilig macht, die Kraftanstrengung, die technische Brillanz, der musikalische Humor, der schnelle Wechsel der Gefühlslandschaft – all das schenkte ein ungefährdetes Hörvergnügen und wurde mit frenetischem Applaus belohnt.
Andreas R. Schweiberer
Nordwest Zeitung
Historisch sinnvoll gereiht begann die Matinee mit der Klaviersonate fis-Moll von Muzio Clementi, der um 1800 ein bedeutender Konzertpianist und berühmter Klavierpädagoge war. Clementi, dessen Spiel, vor allem seine Legato-Technik, stilbildend war, wurde durch Rimoldi geradezu luxuriös wiedergegeben, kraftvoll, durchsichtig, melodisch und rhythmisch akzentuiert, gewissermaßen mehr aus der Vorlage herausholend, als an Substanz in ihr steckt. Vor allem gab diese Interpretation einen Vorgeschmack auf das Folgende: Rimoldi öffnet mit seinem Spiel die innere Theatralik und Dramatik einer Komposition und entfaltet ihre Ausdrucksmöglichkeiten in ihrer ganzen Spanne, auch die Extreme nicht scheuend.
Für einen derartigen Interpretationsansatz eignet sich kaum ein großes Werk besser als Robert Schumanns Fantasie C-Dur op. 17. Mit dem über alles verehrten Beethoven im Gepäck marschierte Schumann 1836 gegen die verhassten Philister und Spießer an, vor allem aber gegen seinen Schwiegervater, der ihm die über alles geliebte Clara verweigerte. Besonders der kühne erste Satz ist einer der tiefgründigsten und schwierigsten der ganzen Klavierliteratur. Rimoldi hielt sich dem Geist nach an Schumanns Vorgabe, „durchaus fantastisch und leidenschaftlich vorzutragen“, fand die jeweils überzeugende Balance zwischen Hauptstimme und den atmosphärisch verdichtenden Nebenstimmen, zerdehnte die Zeit und das Empfinden fallweise bis kurz vor der Auflösung des Zusammenhangs, um mit einem betont dynamisch-vitalen Wiedereinsetzen ganz bewusst spannungsgeladene Schwerpunkte in einer ganz bewusst inszenierten Dramaturgie zu setzen. Bei aller spielerischen Leichtigkeit und zur Schau gestellten Spontanität, beim Auskosten der ganzen Amplitude des Ausdrucks und der Ausdrucksmöglichkeiten, bei dieser der den Extremen zugeneigten Schumann-Interpretation verlor sich nie die ordnende, kontrollierende und disponierende Formkraft. Was sich so sinnlich und vital anhörte, war vor allem musikalische Bewusstheit und überlegene Souveränität gegenüber dem Material.
Sergeij Rachmaninows zehn Préludes op. 23 (1901 – 1903) gaben die Gelegenheit, von zart bis hart, von echtem Tastenlöwe-Gehabe bis zur Versenkung in subtilste Details alles an pianistischem Können und Geschick auszupacken. Alles, was eine Klavier-Matinee anregend, spannend, genussvoll und kurzweilig macht, die Kraftanstrengung, die technische Brillanz, der musikalische Humor, der schnelle Wechsel der Gefühlslandschaft – all das schenkte ein ungefährdetes Hörvergnügen und wurde mit frenetischem Applaus belohnt.
Andreas R. Schweiberer
Nordwest Zeitung
Christopheraxworthy-musiccommentary from Sala dei Giganti, Padova
In Hollywood lingo you might say “A star is born”... A Mozart as though hearing it for the first time...One could almost feel the public gasp in astonishment...Rimoldi reproduced a performance and a piano sound in Padua the like of which I just never thought I would live to hear again after the passing of Rubinstein and Cherkassky.
read
The Magic Carpet of Emanuel Rimoldi
Fresh from his Wigmore Hall and Manchester camerata debut for the Keyboard Trust only a week ago.
There was certainly magic in the air in Padua today and I think I can quite rightly say that rarely can Padua have heard a more beautifully ravishing recital than today.
In Hollywood lingo you might say “A star is born”.
A Mozart as though hearing it for the first time.
So unexpected but oh so right the different layers of colours that he found in a truly noble Allegro Maestoso.
Quite startling the sheer beauty of sound combined with a sense of style and structure that I have not heard since Rosalyn Tureck and been so taken aback by the seemingly simple way the music is allowed to speak.
A glorious delicate cantabile in the Andante con espressione that was just as Mozart indicated.
The tempestuous middle section always kept perfectly in style and the magical minor section was truly memorable .
One could almost feel the public gasp in astonishment.
The murmurings of the Presto at just the right tempo that made the magical major section in Mozart’s seemingly endless invention so unusually right.
With the statement of the theme in the left hand we were made aware too of what invention there was in the right.
Instead of the usual “starter” this was a performance that like those of the much missed Curzon one never wanted to end.
He made us realise what a true genius Liszt was in a performance of the Danza sacra e duetto finale da Aida di Verdi S.436.
A work in which gone is the ceremonial march and pomp that is usually associated with most productions of this much loved opera.
Liszt has seen into the heart of this work which is one of the most touchingly moving chamber operas.
Just as Zeffirelli had realised in his memorable production in Verdi’s little jewel of a theatre in Bussetto.An Aida restored to its touchingly intimate atmosphere as Liszt too had totally understood.
So it was with the meltingly moving statement in the left hand that Liszt had brought this neglected masterpiece to a close, just as Verdi had intended.
Some amazing feats of delicacy and transcendental virtuosity that was totally at the service of this very poetic atmospheric piece.
Finishing in the same key as the first of Rachmaninov’s op 23 preludes begins was only one of the very memorable things hidden in this artists subtle musicianship.
Art that conceals art one might say.
Preludes as only once before heard in such a musicianly whole and that was from that very first recording that astonished and ravished us all years ago.
That of Sviatoslav Richter.
We marvelled at the seriousness and total dedication to the score of pieces that had been up until then used as a vehicle to show off many a pianist’s technical bag of tricks.
Here as then they were restored to their rightful place at the pinnacle of the piano repertoire.
The delicate strands of the first prelude in which all the various layers made total sense coupled also to a ravishing piano sound.
The second famous”cavallo di battaglia” of so many pianist played with such grandiose virtuosity and temperament the wonderful left hand melody in the central section allowed to sing because the ravishingly subdued accompaniment was held so much at bay.
The gentle disintegration of the Tempo di Minuetto so poignantly nostalgic .
Unbelievable sense of control in the D major cantabile where the filigree accompaniment in the right hand seemed to float in the air as the melody was allowed to sing with such poise and good taste.
The famous Alla marcia played with such solid rhythm and shape and some very violent climaxes played with almost military precision always timed to perfection that led to the most thrilling performance .The elusive ending at last made such sense as I am sure the Paganini variations would in his hands too. A sense of being thrown off but with the real musical meaning always foremost in mind .
Wonderfully nostalgic sixth prelude with an awesome sense of balance that allowed the piano to reverberate in an extraordinarily expressive way .Led to the enormously busy C minor prelude where the melody shaped with such care seemed to soar above the most intricate of weavings .
The enormous difficulties of the ” feux follets ” prelude played with a seeming ease .This was the only one I felt could have had a little more old style teasing rubato at the cadences The last Largo played with such understated sense of line and balance it really was a lesson in its self in true cantabile playing .
Total silence with the rapt attention of an almost full house brought an ovation that was thanked with the little Waltz Melancolique by Rebikov that I remember Cherkassky playing in my theatre as an encore .
Here it was again with just the same charm and colour of that other much missed magician of the keyboard .
What amazing people true artists are .
Emanuel who had played the same programme well enough in London just a week ago had now reproduced a performance and a piano sound in Padua the like of which I just never thought I would live to hear again after the passing of Rubinstein and Cherkassky.
All together an overpowering emotional experience totally unexpected …..
That is the glory of art of course.
CHRISTOPHERAXWORTHY-MUSICCOMMENTARY
Fresh from his Wigmore Hall and Manchester camerata debut for the Keyboard Trust only a week ago.
There was certainly magic in the air in Padua today and I think I can quite rightly say that rarely can Padua have heard a more beautifully ravishing recital than today.
In Hollywood lingo you might say “A star is born”.
A Mozart as though hearing it for the first time.
So unexpected but oh so right the different layers of colours that he found in a truly noble Allegro Maestoso.
Quite startling the sheer beauty of sound combined with a sense of style and structure that I have not heard since Rosalyn Tureck and been so taken aback by the seemingly simple way the music is allowed to speak.
A glorious delicate cantabile in the Andante con espressione that was just as Mozart indicated.
The tempestuous middle section always kept perfectly in style and the magical minor section was truly memorable .
One could almost feel the public gasp in astonishment.
The murmurings of the Presto at just the right tempo that made the magical major section in Mozart’s seemingly endless invention so unusually right.
With the statement of the theme in the left hand we were made aware too of what invention there was in the right.
Instead of the usual “starter” this was a performance that like those of the much missed Curzon one never wanted to end.
He made us realise what a true genius Liszt was in a performance of the Danza sacra e duetto finale da Aida di Verdi S.436.
A work in which gone is the ceremonial march and pomp that is usually associated with most productions of this much loved opera.
Liszt has seen into the heart of this work which is one of the most touchingly moving chamber operas.
Just as Zeffirelli had realised in his memorable production in Verdi’s little jewel of a theatre in Bussetto.An Aida restored to its touchingly intimate atmosphere as Liszt too had totally understood.
So it was with the meltingly moving statement in the left hand that Liszt had brought this neglected masterpiece to a close, just as Verdi had intended.
Some amazing feats of delicacy and transcendental virtuosity that was totally at the service of this very poetic atmospheric piece.
Finishing in the same key as the first of Rachmaninov’s op 23 preludes begins was only one of the very memorable things hidden in this artists subtle musicianship.
Art that conceals art one might say.
Preludes as only once before heard in such a musicianly whole and that was from that very first recording that astonished and ravished us all years ago.
That of Sviatoslav Richter.
We marvelled at the seriousness and total dedication to the score of pieces that had been up until then used as a vehicle to show off many a pianist’s technical bag of tricks.
Here as then they were restored to their rightful place at the pinnacle of the piano repertoire.
The delicate strands of the first prelude in which all the various layers made total sense coupled also to a ravishing piano sound.
The second famous”cavallo di battaglia” of so many pianist played with such grandiose virtuosity and temperament the wonderful left hand melody in the central section allowed to sing because the ravishingly subdued accompaniment was held so much at bay.
The gentle disintegration of the Tempo di Minuetto so poignantly nostalgic .
Unbelievable sense of control in the D major cantabile where the filigree accompaniment in the right hand seemed to float in the air as the melody was allowed to sing with such poise and good taste.
The famous Alla marcia played with such solid rhythm and shape and some very violent climaxes played with almost military precision always timed to perfection that led to the most thrilling performance .The elusive ending at last made such sense as I am sure the Paganini variations would in his hands too. A sense of being thrown off but with the real musical meaning always foremost in mind .
Wonderfully nostalgic sixth prelude with an awesome sense of balance that allowed the piano to reverberate in an extraordinarily expressive way .Led to the enormously busy C minor prelude where the melody shaped with such care seemed to soar above the most intricate of weavings .
The enormous difficulties of the ” feux follets ” prelude played with a seeming ease .This was the only one I felt could have had a little more old style teasing rubato at the cadences The last Largo played with such understated sense of line and balance it really was a lesson in its self in true cantabile playing .
Total silence with the rapt attention of an almost full house brought an ovation that was thanked with the little Waltz Melancolique by Rebikov that I remember Cherkassky playing in my theatre as an encore .
Here it was again with just the same charm and colour of that other much missed magician of the keyboard .
What amazing people true artists are .
Emanuel who had played the same programme well enough in London just a week ago had now reproduced a performance and a piano sound in Padua the like of which I just never thought I would live to hear again after the passing of Rubinstein and Cherkassky.
All together an overpowering emotional experience totally unexpected …..
That is the glory of art of course.
CHRISTOPHERAXWORTHY-MUSICCOMMENTARY
Kieler Nachrichten from Kiel
Intense emotions, passion and sentiments have vibrated in the air of the Ansgar Church throughout the performance. Rimoldi simply excelled... Rimoldi’s play was technically perfect; he never tried to impress with surprise effects, but simply with his poetical and rousing style.
Read
Rimoldi confirms his unique style of excellence
Kiel. The „Top of the World“ of piano competitions, in the Norwegian Tromso, continues to gain importance thanks to the sublime concerts by world’s leading and most outstanding pianists, as the Milanese Emanuel Rimoldi , which perform releasing all their expressive power.
On invitation of the Kiel’s music lovers and members of the much-frequented Società Dante Alighieri, the 27-year-old man who studied in Moscow, played on Saturday evening his Steinway – intense emotions, passion and sentiments have vibrated in the air of the Ansgar Church throughout the performance. Rimoldi simply excelled. Even disturbed by a radio interference of the acoustic system, and played with magnificence the composition of Robert Schumann. He played delicately poetic the Scenes from Childhood, proposing the dynamic rhythm of the romantic. Even more enchanting was the charming and multifaceted Humoreske. Rimoldi’s play was technically perfect; he never tried to impress with surprise effects, but simply with his poetical and rousing style. This made admirable and fascinating even Sergej Prokofjew’s gloomy and sad c-minor-sonata op. 29. Unlike the once rather impassive and rigorous composer, discovered Rimoldi in the slow medium set a sea of intensely and incandescent colours. When the delicate and mysterious Venice view of Chopin in the Barcarolle in f major op. 60, became a bit too dismal, he passed to Liszt’s 12 Hungarian rhapsody and to the encores (highly virtuosic adaptations of Rachmaninow compositions) with an almost imposing and magnificent orchestra.
Von Christian Strehk , Kieler Nachrichten
Kiel. The „Top of the World“ of piano competitions, in the Norwegian Tromso, continues to gain importance thanks to the sublime concerts by world’s leading and most outstanding pianists, as the Milanese Emanuel Rimoldi , which perform releasing all their expressive power.
On invitation of the Kiel’s music lovers and members of the much-frequented Società Dante Alighieri, the 27-year-old man who studied in Moscow, played on Saturday evening his Steinway – intense emotions, passion and sentiments have vibrated in the air of the Ansgar Church throughout the performance. Rimoldi simply excelled. Even disturbed by a radio interference of the acoustic system, and played with magnificence the composition of Robert Schumann. He played delicately poetic the Scenes from Childhood, proposing the dynamic rhythm of the romantic. Even more enchanting was the charming and multifaceted Humoreske. Rimoldi’s play was technically perfect; he never tried to impress with surprise effects, but simply with his poetical and rousing style. This made admirable and fascinating even Sergej Prokofjew’s gloomy and sad c-minor-sonata op. 29. Unlike the once rather impassive and rigorous composer, discovered Rimoldi in the slow medium set a sea of intensely and incandescent colours. When the delicate and mysterious Venice view of Chopin in the Barcarolle in f major op. 60, became a bit too dismal, he passed to Liszt’s 12 Hungarian rhapsody and to the encores (highly virtuosic adaptations of Rachmaninow compositions) with an almost imposing and magnificent orchestra.
Von Christian Strehk , Kieler Nachrichten
| kiel_review_in_german.pdf |
Seen and Heard International from Wigmore Hall
He is in possession of a technique so assured that one barely notices the virtuosity but, on the evidence of this intensely focused performance, he does not put showmanship above intelligent musicianship. Rimoldi’s playing was unfailingly thought-provoking and he conveyed a strong conviction and personality.
REad
Sketch made by Ronald Stein during the rehearsal at Wigmore Hall
Rimoldi has something fresh to say and it’s worth hearing.
Emanuel Rimoldi has made a habit of winning prizes. The thirty-year-old Italian-Romanian pianist was awarded third prize and two special prizes at the 2011 Ettore Pozzoli International Piano Competition (Seregno, Italy) and first prize at the 2013 Cittá di Cantú International Piano Competition (Italy). He followed first prize at the international piano competition Top of the World (Tromsø, Norway, 2013), with the Gran Prix and ‘Ivo Pogorelich’ prizes at the first Manhattan International Music Competition in 2016.
Rimoldi’s successes have given him a passport to prestigious concert halls across Europe, including the Gewandhaus in Leipzig, Sendesaal in Hannover, Gasteig in Munich and Salle Cortot in Paris, among others. It seemed fitting, therefore, that this Wigmore Hall recital was part of The Keyboard Charitable Trust’s Prizewinner Series, for the Trust support talented young performers, assisting their development by offering them opportunities to perform throughout the world.
...Rimoldi may be successful at catching the ear and eye of international juries and in possession of a technique so assured that one barely notices the virtuosity but, on the evidence of this intensely focused performance, he does not put showmanship above intelligent musicianship. This performance was, however, sometimes surprisingly forthright and offered strongly defined, often somewhat idiosyncratic interpretations.
That said, Rimoldi’s playing was unfailingly thought-provoking and he conveyed a strong conviction and personality. Encores by Tchaikovsky and Chopin, for once, did not feel like lollipops; Rimoldi has something fresh to say and it’s worth hearing.
Claire Seymour for Seen and Heard International
Emanuel Rimoldi has made a habit of winning prizes. The thirty-year-old Italian-Romanian pianist was awarded third prize and two special prizes at the 2011 Ettore Pozzoli International Piano Competition (Seregno, Italy) and first prize at the 2013 Cittá di Cantú International Piano Competition (Italy). He followed first prize at the international piano competition Top of the World (Tromsø, Norway, 2013), with the Gran Prix and ‘Ivo Pogorelich’ prizes at the first Manhattan International Music Competition in 2016.
Rimoldi’s successes have given him a passport to prestigious concert halls across Europe, including the Gewandhaus in Leipzig, Sendesaal in Hannover, Gasteig in Munich and Salle Cortot in Paris, among others. It seemed fitting, therefore, that this Wigmore Hall recital was part of The Keyboard Charitable Trust’s Prizewinner Series, for the Trust support talented young performers, assisting their development by offering them opportunities to perform throughout the world.
...Rimoldi may be successful at catching the ear and eye of international juries and in possession of a technique so assured that one barely notices the virtuosity but, on the evidence of this intensely focused performance, he does not put showmanship above intelligent musicianship. This performance was, however, sometimes surprisingly forthright and offered strongly defined, often somewhat idiosyncratic interpretations.
That said, Rimoldi’s playing was unfailingly thought-provoking and he conveyed a strong conviction and personality. Encores by Tchaikovsky and Chopin, for once, did not feel like lollipops; Rimoldi has something fresh to say and it’s worth hearing.
Claire Seymour for Seen and Heard International
Hamburger Abendblatt from Hamburg
A Master of the nuances ... His highly refine art of touch and his delicate use of the pedal, models his poetic interpretation in a perfectly balanced sculpture of sound...
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Ein jungenhafter Pianist erweist sich als Meister der Nuance
Hamburg. Zu den kleinen, feinen Perlen des Hamburger Musiklebens zählt die vom Verein ProPiano Hamburg e.V. veranstaltete Reihe der "Apéritif-Konzerte". Gudrun Parsons, der rührigen Leiterin von ProPiano, kommt das Verdienst zu, als Erste Daniil Trifonov nach Hamburg geholt zu haben, als der heutige Überflieger der Pianistenzunft noch ein Geheimtipp war. Man sollte also dabei gewesen sein, wenn bei ProPiano mal wieder ein unbekannter Name auf dem Programm steht. Zum Auftakt der ProPiano Saison hatte Parsons nun am Mittwoch den Italiener Emanuel Rimoldi ins Bechstein-Zentrum im Chilehaus eingeladen.
Die Akustik dieses Ausstellungsraumes hat ihre Tücken, sie wirkt als akustisches Vergrößerungsglas, was in der Laeiszhalle ein Piano wäre, wirkt hier wie ein Mezzoforte. Noch in der fünften Reihe spürt man die Vibrationen des Klangs. Doch der 28-Jährige bestand den Test unterm Klangmikroskop mit Bravour, die Intimität des Raumes kam seinem Spiel sogar sehr entgehen. Denn der jungenhaft wirkende Rimoldi erwies sich als Meister der Nuance. Mit Bedacht hatte er Nocturnes, Mazurkas sowie die f-Moll-Ballade und die Polonaise-Fantasie von Chopin und Schumanns "Kinderszenen" aufs Programm gesetzt. Mit hoch differenzierter Anschlagskunst und subtilem Pedalgebrauch modellierte er aus diesen poetischen Charakterstücken perfekt balancierte Skulpturen aus Klang.
Dass der Klangpoet zum Ausgleich Thai Chi praktiziert, wie Parsons in ihrer Anmoderation verriet, passt da bestens in Bild. Doch ganz ohne virtuosen Leistungsnachweis kam auch Rimoldi nicht aus. Zum Höhepunkt stand Liszts Ungarische Rhapsodie Nr. 12 an; und hier allenfalls hätte man sich jenen Schuss Extrovertiertheit gewünscht, der zum Tastenlöwentum nun mal dazugehört.
Hamburger Abendblatt
Hamburg. Zu den kleinen, feinen Perlen des Hamburger Musiklebens zählt die vom Verein ProPiano Hamburg e.V. veranstaltete Reihe der "Apéritif-Konzerte". Gudrun Parsons, der rührigen Leiterin von ProPiano, kommt das Verdienst zu, als Erste Daniil Trifonov nach Hamburg geholt zu haben, als der heutige Überflieger der Pianistenzunft noch ein Geheimtipp war. Man sollte also dabei gewesen sein, wenn bei ProPiano mal wieder ein unbekannter Name auf dem Programm steht. Zum Auftakt der ProPiano Saison hatte Parsons nun am Mittwoch den Italiener Emanuel Rimoldi ins Bechstein-Zentrum im Chilehaus eingeladen.
Die Akustik dieses Ausstellungsraumes hat ihre Tücken, sie wirkt als akustisches Vergrößerungsglas, was in der Laeiszhalle ein Piano wäre, wirkt hier wie ein Mezzoforte. Noch in der fünften Reihe spürt man die Vibrationen des Klangs. Doch der 28-Jährige bestand den Test unterm Klangmikroskop mit Bravour, die Intimität des Raumes kam seinem Spiel sogar sehr entgehen. Denn der jungenhaft wirkende Rimoldi erwies sich als Meister der Nuance. Mit Bedacht hatte er Nocturnes, Mazurkas sowie die f-Moll-Ballade und die Polonaise-Fantasie von Chopin und Schumanns "Kinderszenen" aufs Programm gesetzt. Mit hoch differenzierter Anschlagskunst und subtilem Pedalgebrauch modellierte er aus diesen poetischen Charakterstücken perfekt balancierte Skulpturen aus Klang.
Dass der Klangpoet zum Ausgleich Thai Chi praktiziert, wie Parsons in ihrer Anmoderation verriet, passt da bestens in Bild. Doch ganz ohne virtuosen Leistungsnachweis kam auch Rimoldi nicht aus. Zum Höhepunkt stand Liszts Ungarische Rhapsodie Nr. 12 an; und hier allenfalls hätte man sich jenen Schuss Extrovertiertheit gewünscht, der zum Tastenlöwentum nun mal dazugehört.
Hamburger Abendblatt
Süddeutsche Zeitung from Munich Gasteig
This young pianist is not only an ordinary technician but, moreover, he is a real musician: having a very strong personality intelligence and capacity to underline details, he is capable to built and comunicate a real vision of music. His marvellous way of playing creates touching emotions and sensations that strike you deeply. That's way he is so good.
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