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South African Tour 2003 "Aviram Reichert...gave of his utmost mastery of the keyboard to his Knysna Music Society audience on June 26...It is impossible not to use superlatives to describe a faultless recital, given with seemingly relaxed enjoyment, but limitless dramatic insight. If the world is an oyster that occasionally creates pearls, this experience was one of the rarest value." "Scriabin's Sonata No.9 and 4 wonderfully showed up Reichert's art. The wild, practically maniacally aspect of the Sonata No.9 was played with feverish intensity and dramatically contrasted with the more lyrical passages. The association of volume was as powerful, from a mere whisper to thundering loudness. These exciting interpretation showed up Reichert's sharp insight." "The best part of the recital came in the two Scriabin Sonatas, of which No. 4 was really beautifully interpreted. The tone was consistently attractive, the feeling for the tentativeness of the first movement and the confidence of the last was admirable, and the technical expertise left no doubt that Reichert can play with authority." "Aficionados of the piano revelled...Reichert was in the bravura mode. This Virtuosity suited Scriabin's Sonata No. 4 to the hilt. Quite spectacular in the Prestissimo volando! In Chopin's Sonata No. 2 Reichert also dazzled with his technical flair. There was sweep in the finale, intensity in the famous death march, a ruminating quality in the Scherzo and a firm, robust account of the opening..." "...The highlight of the evening, however, was undoubtedly the quite riveting account of Saint-Saens G minor piano concerto, performed with ebullient good humor by the young Israeli virtuoso, Aviram Reichert ...His technique is superior, indeed effortless, and the most taxing passages in the work (of which there are not a few) were whizzed through with efficient alacrity ...the solo line was utterly assured and marvelously pliant ...The standing ovation afforded the performance was entirely merited..." "Young Israeli Pianist Aviram Reichert exudes self-confidence and boasts an exemplary technical command. Four Scarlatti Sonatas opened the program ...Here Reichert's scale passages, crisped and pin-point in their clarity, of which we were to hear many more during the course of the recital, were given their first airing ...The four pieces of Schubert's Impromptus Op. 90 were the highlight of the program. The lyrical passages were beautifully played with a sense of poetry. The rippling lightness of the triplets in the No. 2 delighted and there was a spontaneous spring-like freshness to the final allegretto." "…Israeli -born pianist Aviram Reichert is anything but a common man. Reichert, a rising star in the piano world, joined the philharmonic for the Beethoven's sprawling and complex “piano concerto No. 5” also known as the “Emperor” concerto. It is a showcase for technical prowess, and Reichert displayed an impressive command of detail. The strength and precision of his playing challenged the orchestra to keep up in the call-and response sections of the first movement. Even more impressive than Reichert's virtuosic skill was an emotive presence that was stunning for someone so young. He clearly knew exactly what he wanted to coax from each theme, and played with romantic flair that held the audience rapt throughout the extensive piece.” "The young Israeli pianist Aviram Reichert played the solo part to perfection. His formidable technique matched every demand of Brahms' difficult piano writing, from the thunder of the first movement to the poetry of the slow movement to the high energy of the finale. He almost made the concerto sound easy. More important, he made music of it every step of the way, giving full value to every expressive nuance. Reichert coaxed a wide dynamic range from the piano, dominating the orchestra in loud passages and playing with utmost delicacy in quieter moments. He seemed at home with the new piano, which continues to sound splendid. It's a pleasure to hear such a fine artist who is sure to have a splendid career. The orchestra, under its conductor and musical director, Miguel Harth-Bedoya, played its part in the concerto admirably. As has always been true, Harth-Bedoya worked beautifully with the soloist, following him closely when appropriate and taking the lead when necessary. The orchestra responded with precision and energy. It was as satisfying a performance of the Brahms concerto as one could wish for." Reichert has powerful hands, and they are lightning fast. His cadenzas were effortless and thrilling. To emphasize his power and speed, his encore focused on those elements, to everyone's delight." "... However, the night belonged to Israeli pianist Aviram Reichert, who ignited the audience with a vigorous reading of Saint-Saens' Piano Concerto No. 2. Like a jet fueled rocket, Reichert played with an intensity that never let up. By the time he reached the finale, Reichert had established a perfect thrust of musical necessity. It was as if he, the orchestra, and the audience were on a launch pad lifting off. I'm serious. People around me marked the urgency of the music in a variety of ways. One woman down the row rocked her green plastic chair with such muscularity I thought she'd go overboard before the pianist did. A romantic at heart, Reichert played the opening cadenza with a good deal of pedal. By the time he entered the lush landscape of heroic arpeggios, he was in full command of spaceship Purgatory. There is no adagio movement in the Saint-Saens concerto - another reason why Reichert could capitalize on the pulsating tempi of the work. A thundering response from the audience brought Reichert back for an encore, another passionate outburst of musical fury: Chopin's Etude No. 12, Op. 10, "Revolutionary." What an evening." |