She is plainly a pianist of a superior order. Her tone is deep and rich, her articulation faultless and her feeling for the pulse of the music she is playing is as natural as breathing – that’s something that cannot be taught.
This new album of Bach and Scarlatti from Russian pianist Polina Osetinskaya is therefore conventional in some ways, though it stands out for the sheer elegance of Osetinskaya’s playing, and for the intriguing approach to the program. And, despite the common currency of Bach transcriptions, this is clearly the playing of Russian pianist, with immaculate and finely honed technique. Every piece here has that unmistakable Russian virtue of clear and definite voicing, with each note carefully placed, and each harmony voiced with confidence and clear intent. The result is an absorbing performance, the textures even and well controlled, the rubato modest, but with everything imbued with a pervasive feeling of depth.
Tuesday February 11th, 2020 - Maxim Vengerov in recital at Carnegie Hall, with Polina Osetinskaya at the Steinway. Uniquely matched in technique and artistry, the two offered a most appealing program, distinctively played. Commencing at a high level with beautifully-played Mozart, the artists continued the evening on an ever-ascending musical path, reaching the heavens in the Strauss sonata. The atmosphere in the packed hall was palpable: four encores testified to the audience's great enthusiasm.
Polina Osetinskaya is her name... Osetinskaya gave evidence of technical poise and, most importantly, an inquisitive musical mind... revealed a flair for expressive shading and rhythmic plasticity... The performance had character, depth, theatricality... Everything was carefully prepared and thought through; the music was conceived as one grand arch, not a set of independent pieces... Even if some of her phrasing sounded a little self-conscious, calculated, Osetinskaya never fell into the by-the-numbers, cookie-cutter mold of so many conservatory grads. She had something personal to say and the means to say it.
Polina Osetinskaya is terrific pianist. More importantly, she is a magnificently endowed musician. Her performances always explore new facets of even the most familiar scores... She is a musical treasure!
- Lawrence Budmen. Music & Vision (USA)
The great merit of this Russian performance is the piano playing of Polina Osetinskaya, with Hummel’s rippling passagework persuasively done with crystal-clear articulation.
- Edward Greenfield. The Gramophone (UK)
Il concerto di Maxim Vengerov in duo con la pianista Polina Osetinskaya dello scorso 15 febbraio al Teatro Petruzzelli di Bari e stato un esempio mirabile di esecuzione cameristica. Dal celebre violinista russo, che suona sullo Stradivari “ex Kreutzer”, giovanissimo vincitore dei Concorsi internazionali “Junior Lipinski – Wieniawski” di Lublino e “Carl Flesch” di Londra, ci si sarebbe aspettato il classico recital della star, semplicemente “accompagnato” al pianoforte. Cosi non e stato: la pianista moscovita Polina Osetinskaya, ex bambina-prodigio, formatasi presso i Conservatori di Mosca e San Pietroburgo, ha dato prova di possedere tecnica eccellente e raffinatissima capacita interpretativa.
Klavíristka Polina Osetinskaja je české hudební veřejnosti prakticky neznámá. V Rusku však skloňují její jméno jedním dechem spolu s takovými hudebníky, jako jsou Maxim Vengerov, Vadim Repin nebo Jevgenij Kisin. Kdysi zázračné dítě řízené despotickou rukou otcovou, dnes vyzrálá a vyrovnaná osobnost v uměleckém i obecném slova smyslu, koncertující po celém světě, třebas ne s takovou okázalou publicitou jako její zmínění kolegové. Na začátku května (4. a 5. 5.) se představí v brněnském Besedním domě, kde spolu s Filharmonií Brno a pod taktovkou venezuelského dirigenta Ilyiche Rivase uvede v rámci jednoho programu Klavírní koncert č. 5 f moll BWV 1056 Johanna Sebastiana Bacha a Koncert pro klavír a smyčce Alfreda Schnittkeho.
PROGRAMME: A. Arensky, S. Rachmaninoff, S. Taneyev, N. Medtner, I. Stravinsky.
One of the iconic oeuvres of the 20th century, “Music for 18 Musicians” written by Steve Reich in 1976, is truly a genre defining piece for minimalism. Bali music culture, and Gamelan in particular, were the inspirations for Reich’s groundbreaking idea. The composer himself confesses, that it indeed was the starting point, but no more.
Recital "Baroque music in the movies"