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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.

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.