" It is strange to reason - "appropriate" or "inappropriate". Music is not to blame for anything at all. Especially music written 100 years ago and in quite similar historical moments. Shostakovich, for example, waited for his arrest and sat at night, for several months, with a packed suitcase by the elevator, so that when they came for him, his family would not be woken up. This is the reality that many people live in now. Or Rachmaninoff, who was forced to leave Russia because of the revolution. But at the same time, the function of music as a great comforter remains. What else can people need in a state of such turmoil, confusion and enormous stress that they have been living in lately?"
The powerhouse duo of violinist Maxim Vengerov and pianist Polina Osetinskaya checked their most formidable chops at the door in Carnegie Hall Sunday afternoon, inviting listeners instead to an intimate celebration of love and friendship.
The elated audience didn’t want it to end, and Vengerov and Osetinskaya were happy to feed the enthusiasm with three encores; Rachmaninov’s "Vocalise", Prokofiev’s March from The Love for Three Oranges, and more Rachmaninoff in his Rhapsody on a Theme of Paganini, 18th variation. It was a stylishly compelling end to an evening whose deceptively conventional façade concealed a thrilling range of emotions.
After an evening full, the soloists have granted a three-bis anything but routine, again drawing inspiration from the repertoire of Prokofiev and evoking another great Russian Sergei Rachmaninoff.
There is always a first time, goes the old adage, and for the first time in Trieste by Maxim Vengerov, one of the most requested soloists in the world, the Teatro Lirico Giuseppe Verdi has returned to its ancient splendors.
The Morellino Classica Festival from today to Sunday presents a 'three days' of small festival within the event entirely dedicated to the piano in its various forms of expression. Location of the "3 days" piano is the Castagnoli theater in Scansano. Five pianists from Russia, France, Germany, Japan, Italy will take the stage, among which stands out the name of Polina Osetinskaya, one of the most acclaimed Moscow pianists in the world, who will open the concerts today at 21:00.
Methinks that, had Rameau composed these pieces 180 years later, Georges Méliès might have been inspired to make short films of each. In the meantime, we had Polina Osetinskaya, and that sufficed, for an expressive and literally picturesque finale.
Polina Osetinskaya, a critic of the invasion who has stayed in Moscow even as the government cracks down on dissent, will play a Baroque program in New York.
Polina brought together composers from Russia and Ukraine. And she did it peacefully, without loud statements and shooting. It's worth a lot. Yes, and the music remains. And the hope for justice, which in the final case has always triumphed — both with Rostropovich and with Rachmaninoff...
Russia-born pianist Polina Osetinskaya was Vengerov’s vital partner, especially in the Beethoven, her crystalline articulation drawing rich colours from the keyboard, her frequent pauses providing space for Vengerov’s stretched-out phrasing. She’ll return to Koerner Hall for her Canadian solo debut on June 3.
Leah Hollingsworth hears a recital of Bach, Beethoven and Shostakovich at the Isaac Stern Auditorium in New York’s Carnegie Hall on 20 October 2022.
Tonen hennes er dyp og rik, artikulasjonen feilfri, og hennes følsomhet for pulsen i den musikken hun spiller er like naturlig som pusten – det er noe som ikke kan læres.
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.
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.
„Es ist immer eine Freude, in Salzburg zu spielen“, sagte der Violinvirtuose Maxim Vengerov. Diese Freude vermittelte er zusammen mit der Pianistin Polina Osetinskaya einem begeisterten Publikum.
I don’t know why I decided to write about Polina Osetinskaya, although I am not a music critic and have listened to her for the first time. Maybe, It is driven by her sudden arrival to Odessa, where she haven’t been for ages.
What is the right ratio of algebra and harmony in music, why women shouldn’t fight with their nature, what do sheet music stores and gold mines have in common, and why pianists remind of cyborgs – narrated by Polina Osetinskaya.
She's never really been away, but in Europe and the United States, it had become just a little bit more difficult to listen to the magic fingers of Polina Osetinskaya. Now, things are looking brighter for everyone outside of Russia, as Polina releases her new CD with Naxos.
The superb young Russian pianist Polina Osetinskaya displayed astounding virtuosity and sensitive musicality several seasons ago in a program of unusual works by Scriabin and Desyatnikov. This extraordinarily gifted artist returned to Miami in an awesome display of keyboard technique and interpretive agility on August 31, 2005 at the Steinway Concert Hall in Coral Gables, Florida, USA.
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.
Enthralls with Superb Artistry... Not only does the artist possess the phisical skills necessary to vault her to the top of the profession, but she has a rare sense of inner beauty which is able to convey in her playing. Listening and watching Polina Osetinskaya play is like a breath of fresh air.
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.
Rusti umělci disponuji vynikajici technikou a na rozdil od svych zapadnich či asijskych kolegů rovněž nezaměnitelnou slovanskou emocionalitou, muzikalnosti, inteligenci a pokorou, ktera z jejich hry vytvaři nezapomenutelny zažitek. Vrcholem večera bylo provedeni Koncertu pro klavir a smyčce Alfreda Schnittkeho – taktež Polinou Osetinskou... Ve skladbě lze slyset odraz dnesniho světa s jeho chaosem, rozpory, konflikty, najdeme v ni ale i určity duchovni rozměr, smiřeni a klid. Solo klavir hřima v klastrech a silne dynamice, stejně jako se rozezpiva v překrasne melodice. Provedeni bylo vynikajici, precizni a dech berouci. Po dozněni zůstalo hypnotizovane publikum jestě několik vteřin v klidu, než poděkovalo interpretům aplausem a vykřiky Bravo.
Vydařený čtvrteční koncert Filharmonie Brno v Besedním domě musel potěšit opravdu každého, posluchače rozličného věku i vkus. A nadšení bylo v sále cítit, i přesto, že se na klavír hrálo i celou šíří předloktí.
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.