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    July 9 2018
    Festival des Musiques d'été
    at Château de Lourmarin
    Recital
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    NEW CD
    Ingmar Lazar – Schubert
    France Musique's choice
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    July 21 2018
    1001 Notes Festival
    Limoges, France

Biography

Born in 1993 in Saint-Cloud, France, Ingmar Lazar started playing the piano when he was 5. He made his debut at the age of 6 at the Salle Gaveau in Paris. At the age of 10, he won the International EPTA Competition in Namur, Belgium, and in 2008, the C.I.M. International Competition in Val d'Isère, France. He received the Tabor Foundation Piano Award at the Verbier Festival, Switzerland in 2013, and became laureate of the Safran Foundation for Music, France in 2016.
He was invited to perform in the world's most prestigious halls such as the Great Hall of the Tchaikovsky Conservatory and the International Performing Arts Centre in Moscow, Charles Bronfman Auditorium in Tel Aviv, Herkulessaal in Munich, International Mozarteum Foundation in Salzburg, Romanian Athenaeum, and the Grand Auditorium of UNESCO headquarters in Paris to name a few, as well as in many festivals including Festspiele Mecklenburg-Vorpommern, European Weeks Festival in Passau, Colmar International Festival, Dinard International Music Festival, Chopin au Jardin, Festival Chopin in Paris, Festival Les Piano Folies in Le Touquet-Paris-Plage, Festival 1001 Notes in Limousin, Summer Music Festival in Lourmarin, and Estate Regina Music Festival in Montecatini Terme.
He performed under the baton of Anna Duczmal-Mróz, Constantin Adrian Grigore, Jean-Jacques Kantorow, Nicolas Krauze, Vladimir Spivakov, and with orchestras such as the National Philharmonic of Russia, the Moscow Virtuosi, the Orchestre Lamoureux, the Toruń Symphony Orchestra, the Romanian Radio Chamber Orchestra, the Lviv Philharmonic Academic Symphony Orchestra, the Orchestra Sinfonica del Festival di Chioggia.

As a chamber musician, he shares the stage with Alexandre Brussilovsky, Benjamin Herzl, Fedor Rudin, François Salque, Christoph Seybold, Ekaterina Valiulina, Brieuc Vourch, the Quatuor Hermès, and the Vision String Quartet.
His concerts were broadcast on radio (France Musique, France Inter, RCJ, SRG SSR - Radio Swiss Classic, RTS - Espace 2, ORF-Ö1, Radio România Muzical) and on television (Mezzo, TF1, M6). He recorded several CDs both as a soloist and in duo with violinist Alexandre Brussilovsky for the Suoni e Colori label. His latest recording of Schubert's Wanderer Fantasie and Sonata D.959 was released in October 2017 on the Lyrinx label, and a Beethoven recital will be released in the autumn of 2018 on the same label.
A former student of Valery Sigalevitch in Paris, he continued his studies with Vladimir Krainev and Bernd Goetzke at the Hochschule für Musik, Theater und Medien Hannover. Thereafter he attended the International Piano Academy Lake Como and the Conservatory of the Italian Switzerland (Lugano) as a Theo Lieven scholar, where he studied with Dmitri Bashkirov, Malcolm Bilson, Fou Ts'ong, and Stanislav Ioudenitch. He currently studies with Pavel Gililov at the Universität Mozarteum Salzburg.
Since 2016, Ingmar Lazar has been the founder and artistic director of the Festival du Bruit qui Pense, which is based at the National Museum of Port-Royal des Champs located in the Chevreuse Valley, France.

Concerts

2018

December 9-22 2018

Singapore
MS Europa 2
Four Solo and Chamber Music Concerts with Fedor Rudin (violin), Christoph Seybold (violin), Muriel Razavi (viola), and Hermine Horiot (cello)
Works by Beethoven, Paganini, Chopin, Schumann, Liszt, Brahms, Dvorak, Liadov, Debussy, Sibelius, Vierne, Enescu, and Waxman

November 13 2018

Bratislava, Slovakia
New Masters on Tour
Small Hall of the Slovak Philharmonic
Recital
Works by Ravel and Liszt

November 4 2018

Amsterdam, Netherlands
New Masters on Tour
Recital Hall of the Concertgebouw
Recital
Works by Ravel and Liszt

October 29 2018

Texel, Netherlands
New Masters on Tour
Hervormde Kerk Den Hoorn
Recital
Works by Ravel and Liszt

October 14 2018

Mauterndorf, Austria
Jeunesse - Musikalische Jugend Österreichs
Burg Mauterndorf
Duo Recital with Benjamin Herzl (violin)
Works by Schubert, Beethoven, Ravel, and Franck

August 8-15 2018

La Roque-d'Anthéron, France
Festival de la Roque d'Anthéron
Ensemble in Residence together with Brieuc Vourch (violin)

July 21 2018

Limoges, France
Festival 1001 Notes
Espace Cité
Solo and Duo Recital with Brieuc Vourch (violin)
Works by Franck, Liszt, Tanguy, and Strauss

July 12 2018

Lourmarin, France
Festival des Musiques d'été du Château de Lourmarin
Duo Recital with Benjamin Herzl (violin)
Works by Schubert, Beethoven, Ravel, and Franck

July 9 2018

Lourmarin, France
Festival des Musiques d'été du Château de Lourmarin
Récital
Works by Beethoven, Schumann, and Liszt

July 1 2018

Paris, France
Cercle Cendrars
Private Solo and Duo Recital with Adrien Frasse-Sombet (cello)
Works by Saint-Saëns, Fauré, Debussy, Elgar, Chopin, Schumann, Kreisler, and Brahms

June 11 2018

Paris, France
Festival des Cultures Juives
City Hall of the 3rd arrondissement
Recital
Works by Ravel, Chopin and Liszt

June 7 2018

Sutton Courtenay, Royaume-Uni
The Abbey Sutton Courtenay
Récital
Works by Ravel, Chopin and Liszt

June 5 2018

London, United Kingdom
St Martin-in-the-Fields
Duo Recital with Brieuc Vourch (violin)
Works by Schumann, Franck and Saint-Saëns

June 1 2018

Antwerp, Belgium
Private Recital
Works by Ravel, Chopin and Liszt

May 29 2018

Brussels, Belgium
Private Recital
Works by Ravel, Chopin and Liszt

May 22 2018

Biel, Switzerland
Révélations - Jeunes Interprètes
Salle Farel
Farelsaal
Duo Recital with Ekaterina Valiulina (violin)
Works by Schumann, Andres, and Prokofiev

April 9 2018

Marseille, France
La Criée – Théâtre National
Récital
Works by Mozart, Chopin, Prokofiev, Ravel, and Liszt

March 25 2018

Magny-les-Hameaux, France
Festival du Bruit qui Pense
National Museum of Port-Royal des Champs, Salle Gazier
Recital
Works by Mozart, Beethoven, Ravel, and Liszt

March 24 2018

Magny-les-Hameaux, France
Festival du Bruit qui Pense
National Museum of Port-Royal des Champs, Salle Gazier
Duo and trio with François Salque (cello) and Brieuc Vourch (violin)
Works by Fauré, Brahms, Debussy, and Mendelssohn

March 19 2018

Paris, France
Embassy of Austria
Duo Recital with Brieuc Vourch (violin)
Works by Kreisler and Korngold

March 9 2018

Berlin, Germany
Piano Salon Christophori
Duo and trio with Brieuc Vourch (violin) and Ella van Poucke (cello)
Works by Franck and Mendelssohn

February 27 2018

Paris, France
Festival du Bruit qui Pense
Private Recital for the Patrons of the Festival
Works by Beethoven, Chopin, Rachmaninoff, and Ravel

January 26 2018

Salzburg, Austria
Universität Mozarteum
Solitär
Récital
Works by Beethoven, Prokofiev, and Ravel

Media

Discography

Ingmar Lazar – Schubert

Schubert
Wanderer-Fantaisie en ut majeur op. 15, D.760

Schubert / Liszt
Der Wanderer S. 558, no. 11

Schubert
Sonate no. 20 en la majeur, D. 959

Lyrinx LYR 2302

Jean-Philippe Rameau (1683-1764)
Suite en sol
Ingmar Lazar, piano


Claude Debussy (1862-1918)
Sonate pour violon et piano
Alexandre Brussilovsky, violon, Ingmar Lazar, piano


Sonate pour violoncelle et piano
Natalia Khoma, violoncelle, Volodymyr Vynnytsky, piano

La Mer, transcription pour deux pianos à six mains d'André Caplet (1878-1925)
Andriy Dragan, Piano I, Oxana Rapita & Myroslav Dragan, piano II


Suoni e Colori SC253532

Jean Françaix (1912 - 1997)
Concerto n°2 (1979) pour violon et ensemble instrumental
Alexandre Brussilovsky, violon
orchestre «Virtuoses de Lviv»
Jean-Jacques Kantorow, direction


Sonatine (1934) pour violon et piano
Alexandre Brussilovsky, violon, Ingmar Lazar, piano


Preludio et momento capriccioso de Carl Maria von Weber (1964) pour 2 violons, alto, violoncelle et harpe
Alexandre Brussilovsky & Gabriel Tchalik, violons, Benjamin Beck, alto, Benjamin Truchi, violoncelle, Pauline Haas, harpe


Cinq sonates de Domenico Scarlatti (1975) pour flûte, violon, alto, violoncelle et harpe
Quintette Pessoa


Divertimento (1974) pour flûte et orchestre de chambre
Matteo Cesari, flûte
orchestre de l'Académie Nationale de musique Lyssenko
Yuri Bervetsky, direction


Suoni e Colori SC253522



Koletchko – Le petit anneau de fiançailles
Musique juive du XXème siècle pour violon - volume 2

Joseph Achron (1886-1943)
Ciseaux (danse nuptiale) pour violon et piano
Berceuse juive pour violon et piano


Efrem Podgaits (1949-*)
Partita pour violon seul
Elégie pour violon et piano
Valse d'un film non existant pour violon et piano
Pas de deux ironique pour violon et piano
L'Ange mélancolique pour violon seul
Kol Nidreï pour violon et cordes
Koletchko le petit anneau de fiançailles pour violon et cordes


Alexandre Brussilovsky, violon
Ingmar Lazar, piano
Ensemble Ricercata de Paris

Suoni e Colori SC253432



Les portes du ciel
Musique juive du XXème siècle pour violon – volume 1

Paul Ben-Haim (1897-1984)
Sonate en sol Majeur pour violon seul

Mieczyslaw Weinberg (1919-1996)
Sonatine op. 46 pour violon et piano

Mikhail Bronner (1952-*)
Adam et Eve pour violon et bayan
Les portes du ciel pour violon et cordes


Alexandre Brussilovsky, violon
Ingmar Lazar, piano
Maria Vlassova, bayan
Ensemble Ricercata de Paris

Suoni e Colori SC253422

Reviews

France Inter, « Classic & Co » - January 14 2018

« Ingmar Lazar offers us a straightforward performance of Schubert's music. A piano playing that can be as powerful as it can be delicate, which sings, breathes widely, moves and touches the listener. » Anna Sigalevitch


Musikzen - December 16 2017

The promising Schubertian temperament of the young Ingmar Lazar

« Ingmar Lazar demonstrates effortless technique for this repertoire, and an artistic maturity demanding to blossom even more. He possesses – and it is here the most important – the sense of Schubertian timing, with it's heavenly lengths (as Schumann was saying), and where digressions often lead to fulfillment. » François Lafon


Radio România Muzical - January 26 2016

Ingmar Lazar at the Romanian Athenaeum

« The pianist accomplished an extraordinary task by bringing all of the musical intentions to life; this endeavour seemed to take all but his last drop of energy. (…) Ingmar Lazar demonstrated a beautiful clarity of style, as well as a very rational approach regarding the development of the repertoire's architectural process.

Ingmar Lazar at the Romanian Athenaeum

« The pianist accomplished an extraordinary task by bringing all of the musical intentions to life; this endeavour seemed to take all but his last drop of energy. (…) Ingmar Lazar demonstrated a beautiful clarity of style, as well as a very rational approach regarding the development of the repertoire's architectural process.

Given his attitude on stage, one could often forget what a young musician we had in front of us. (…)

The « romantic » second half of the concert was a triumphant conclusion to a recital which had already proven itself a success. » Radu Mihalache


Adevărul.ro - January 25 2016

Ingmar Lazar at the Romanian Athenaeum

« On January 24th, at the 80th anniversary of the opening of the French Institute of Bucharest, the young French pianist Ingmar Lazar gave a recital at the Romanian Athenaeum. His interpretation was full of sensitivity: considered by some to be the best French pianist of the new generation, he exceeded the expectations of the audience with great brilliance.

Ingmar Lazar at the Romanian Athenaeum

« On January 24th, at the 80th anniversary of the opening of the French Institute of Bucharest, the young French pianist Ingmar Lazar gave a recital at the Romanian Athenaeum. His interpretation was full of sensitivity: considered by some to be the best French pianist of the new generation, he exceeded the expectations of the audience with great brilliance.

(…)

On the stage of the Athenaeum, Ingmar Lazar seemed to be unassuming and fragile, which made me think of the delicate personality that I imagine Frédéric Chopin to have had. The young man was actually not fragile at all: after the organizers forgot to take the music stand out of the piano, he lifted it as if it were a feather. And there was another surprise thereafter that remained to be discovered. Finally, with eyebrows furrowed, I entered into the magic of the music along with the soloist and the public.

The culmination of the evening was obviously the Andantino of Schubert's Sonata in A Major D.959 – the emotional interpretation reinforced the romantic impression that I mentioned above. But the surprise came in the more powerful part of the programme, represented by Mozart's Sonata in C minor KV. 457 and Liszt's Mephisto Waltz No. 1, which were performed with great passion and musical power. (…)

The general impression I received from the interpretation, beyond the beauty of the programme itself, was that I had observed a musician with an original and personal way of playing, who succeeded effortlessly in juggling various musical styles.

The audience could fully enjoy the delights of the ears and the movements of the heart, as a writer-chronicler from two centuries ago would have said. The soloist thanked them after their long applause with the wonderful Prelude after Bach by Alexander Siloti in B minor, an encore that remained in our memories and warmed us throughout the frosty way home. » Dragoş Butuzea


swissclassic.org - November 14 2014

A Young Master of the Piano

« Aged 21, coming from Paris and having studied with some of the most famous and respected professors, Ingmar Lazar started with a Suite in G by Jean-Philippe Rameau from the 3rd Book of Pieces for Harpsichord (1726). Finely chiseled music enriched with numerous ornamentations. Work for a clear mind, as well as the fingers. ...

A Young Master of the Piano

« Aged 21, coming from Paris and having studied with some of the most famous and respected professors, Ingmar Lazar started with a Suite in G by Jean-Philippe Rameau from the 3rd Book of Pieces for Harpsichord (1726). Finely chiseled music enriched with numerous ornamentations. Work for a clear mind, as well as the fingers. It was a real pleasure to listen to Ingmar Lazar, playing on the modern piano instead of the harpsichord with equal precision and accuracy, lively and vivid, with a perfect understanding of the late French baroque style, and without succumbing to dryness. A perfectly successful first impression.

After Rameau followed Ravel. Claude Debussy as well as Maurice Ravel often looked back upon Rameau and their predecessors of the 18th century. To continue the programme with Ravel was, in this sense, perfectly logical. We heard Une barque sur l'océan, followed by Alborada del gracioso, pieces from Miroirs, composed between 1904 and 1906. These two pieces were orchestrated by Ravel, and there is an unintentional expectation to hear all the richness of the orchestra's colours on the piano. In the Barque sur l'océan, it was the piano sonority that dominated at the beginning. But it would also be logical to perform the original piano version in a pianistic way. We started to listen with our eyes as well during his execution – the big waves, the foam, the noise of the wind, the acoustic and the visual were united and mixed with each other. Many subtle colours came out of the instrument. The Alborada del gracioso started strictly and firmly, exactly as it should for this imitation of a Spanish guitar. The central part is freer and almost improvised, but the absolute clarity and precision of the interpreter remained, and he succeeded in creating the ideal atmosphere that is required here, with the outbursts, the quivering glissandi, the repeated notes, and the orchestral colours as well. The playing of Ingmar Lazar is fascinating in its diversity and richness, technically flawless and at the same time in possession of a great orchestral logic.

At the end of the first French part of the recital, we discovered for the first time in Biel, perhaps even in Switzerland, the Cinq préludes composed in 1997 by the composer Éric Tanguy (born in 1968). These are again highly demanding pianistic pieces, the first one very virtuosic, the others more lyrical, and the last one almost violent, with thundering fortississimo octaves. These works immediately seduced the public, and Ingmar Lazar performed them in an ideal manner.

The listeners were delighted after the intermission with Chopin's Ballade No. 4 in F minor Op. 52 and the two Nocturnes Op. 48. I say « delighted » because the interpretation of the young pianist was a great moment full of emotion. In the Ballade, Ingmar Lazar told an imaginary story with a perfect understanding of the dramatic development, extracting wonderful colours out of the piano, and making it sing as well. The Nocturne in C minor was an event in itself in this overwhelming performance, and the following piece in F-sharp minor was a delicate answer to the drama of the previous one.

The programme ended with Alexander Scriabin's Sonata No. 5 in F-sharp Major, which confirmed essentially all that we had heard until then: an unerring sense of the work's structure, a fearless approach and an uncompromising artistical message with a transcendent technique, reaching a great liberty of expression. The listeners who came out of pure curiosity to discover a young talent left the concert after an encore by Liadov with the feeling of having met a young master of the piano, and that they had had the luck to attend an enriching experience. » Daniel Andres


Conservatoire Frédéric Chopin - December 13 2012

« Ingmar Lazar presented an exceptional recital with works by Chopin and Szymanowski on Wednesday, 12 December 2012 at 8 p.m. Even though he is still a student at the Hochschule in Hanover and despite his young age, Ingmar is already an accomplished pianist who has a musical conception that goes beyond the surface of the works and habits considered traditional. » Peter Vizard

 


Dernières Nouvelles d'Alsace - July 10 2012

« Mozart's Piano Concerto No. 9, known as «Jeunehomme », is quite a large-scale piece that reflects the astonishing maturity of the young composer. (…) We were captivated by the almost cheerful abundance and eloquence of the first movement. The synthesis of the soloist and the Russian orchestra, more than their dialogue, was the main quality of this performance: it went its expressive way without forcing the text. The tragic Andantino in C minor was played without insistence on the excessive weight that some put into it. The sprightly Finale was performed as it should be, always light in spirit and dark of texture. This went well with the simple classicism that is always so difficult to sustain. Almost everywhere, the instinctive feeling of the soloist was evident. » Pierre Chevreau


Der Westen - February 27 2012

« In the interpretation of Scriabin's 5th Sonata given by Ingmar Lazar, who is only 18 years old, the extreme contradictions seemed to answer to each other in a significant manner. » Roland Dymke

 


Nordkurier - June 25 2010

Festspiele Mecklenburg Vorpommern
The Paris-born pianist Ingmar Lazar impressed with a Chopin recital


« Following his sparkling Liszt programme last year, he played in Vorpommern on Wednesday evening. (…) This time, he had prepared a purely Chopin programme in honor of the Chopin anniversary. ...

Festspiele Mecklenburg Vorpommern
The Paris-born pianist Ingmar Lazar impressed with a Chopin recital


« Following his sparkling Liszt programme last year, he played in Vorpommern on Wednesday evening. (…) This time, he had prepared a purely Chopin programme in honor of the Chopin anniversary.

Youthful, black suit, white shirt, no tie, with an attitude that reflects calmness, he strode onto the stage with a serious face, turned to the audience, smiled politely, sat down at the instrument and immediately became introspective. He began the Fantaisie in F minor as if improvising, still searching.

Gradually, he worked himself into a fury, opened the dynamics for the forte and built up to a robust sound, raising his playing to an almost hectic virtuosity which was able to base itself on an amazingly brilliant accuracy. The programme continued with two Nocturnes and the Polonaise in F-sharp minor, the latter performed with emphasized fieriness for dramatic effect. Occasionally, the young pianist allowed both hands to differ metrically from each other, creating the impression of spontaneous inspiration without a hint of perfect reproduction - even in the fast passages.

The evening continued with the technical finesse of two Etudes from Opus 25. The cascades in the right hand effervesced wildly in A minor over the simple bass motive that every Chopin lover has been brought up on. And the double octaves in B minor came across as thundering eruptions which shook the player's whole body.

But Lazar's fingers are also suited to the sensitive side of Chopin's piano style. He sometimes sings along quietly to the melodic treble parts while allowing middle-range tones to seep out of them, thereby changing the direction of the harmonic current unexpectedly into surprising new paths, and allowing himself time for delicately placed chords.

(…)

In the Sonata in B-flat minor, the pianist developed the greater portion of his expressiveness with dramatic themes which demanded enormous virtuosity and led him to the edge of ecstasy. » Michael Baumgartl


Schaumburger Wochenblatt - March 24 2010

Ingmar Lazar brings Frederic Chopin back to life Brilliant piano concert delights the audience

« Frederic Chopin (…) would have thoroughly enjoyed sitting in the Spiegelsaal 200 years later and being witness to a musically exceptional talent performing his works with virtuosity. (…) Ingmar Lazar brilliantly understands how to bestow Chopin's musical works with his own interpretation. His concentration, his intuition and his ear for musical nuances were very impressive. (…) His concert was a delight from the opening piece onwards. His Etudes and Mazurkas were as brilliant as his Waltz. (…) The audience bid their farewell to Ingmar Lazar with a standing ovation. »

 


România Mare - March 5 2010

A Young Genius

« During the extraordinary concert at the Mihail Jora Concert Hall in Bucharest, Ingmar Lazar performed the Chopin Piano Concerto No. 1. I am not mistaken in declaring that a new Dinu Lipatti has been born, with a technique floating on the perfumed water of excellence and a sensitivity that reminds me of the famous great neo-romantic artists like George Enescu. » Doru Popovici

 


Aller-Zeitung - September 24 2007

« Ingmar Anthony Lazar mastered Beethoven's Waldstein Sonata brilliantly. The fast-paced runs and polyphonic trills seemed to cause the 14-year-old as little difficulty as did Chopin's Polonaise Op. 44, impressive in its temperament and expressiveness. »

 


La Lettre du Musicien - Mai 2004

« Ingmar Anthony Lazar, at ten years old, gave a light, vivid, sparkling, really convincing performance of Liszt's Gnomenreigen. » Sylvia Avrand-Margot

 


L'Abri - November 2017

« Ingmar Lazar is a pianist with brilliant technique. The most perfect example of it was to be found in his performance of La Campanella, from the Grandes études de Paganini S.141, in G-sharp minor. ...

« Ingmar Lazar is a pianist with brilliant technique. The most perfect example of it was to be found in his performance of La Campanella, from the Grandes études de Paganini S.141, in G-sharp minor.

The programme of his recital, very well structured, started with the Seven Bagatelles Op. 33 by Ludwig van Beethoven, as to prepare the audience for Liszt's arrival with his transcription of Schubert's Der Wanderer, followed by the overflowing La Campanella that the young performer carried to glory with the vigor of desire. (…) The musical personality of this performer has to be spread… further and further! »


România Mare - February 29 2016

Angel wings on the keyboard

« On the frosty evening of January 24th, the full house of concertgoers at the Romanian Athenaeum was enthralled by the young French pianist Ingmar Lazar. ...

Angel wings on the keyboard

« On the frosty evening of January 24th, the full house of concertgoers at the Romanian Athenaeum was enthralled by the young French pianist Ingmar Lazar. Invited by the French Embassy in honor of the 80th anniversary of the creation of the French Institute of Bucharest, the performer truly bewitched his public with a brilliant programme: Franz Schubert's Sonata D. 959 in A Major; Wolfgang Amadeus Mozart's Sonata KV. 457 in C minor; Frédéric Chopin's Ballade No. 4 in F minor; George Enescu's Pièce sur le nom de Fauré; and Franz Liszt's Mephisto Waltz No. 1. A rich and demanding programme performed with depth (Schubert), a velvet touch and diaphanous sonorities (Mozart), profound delicacy (Chopin), maturity (Enescu), and an irresistible and impetuous grasp (Liszt).

(…)

I am still overwhelmed by the dazzling presence of the artist six years ago in his first appearance at the Radio Hall [in Bucharest], where he performed Chopin's 1st Concerto and moved his audience to tears of happiness. Ingmar Lazar is a certainty. A brilliant career awaits him, for the joy of those who will hear him. » Alina Muşat Popovici


Raftul cu idei - January 26 2016

Ingmar Lazar, the piano whisperer

« [Ingmar Lazar] is a real piano whisperer: he tames the piano, educates it, argues with it, caresses it, plays with it, quarrels with it, and fights with it. During his nearly two-hour long recital, I had the impression that he went through a whole range of possible relationships, using up verb after verb, and I thought the only thing left for him to do at the end was to marry the piano under our prolonged applause. In an attitude worthy of Dickens, « Please sir, may I have some more? », we were begging to hear more. » Ivona Boitan

 


Cahiers Bernard Lazare - May 2015

« Could one imagine Schubert's great Sonata in A Major, D. 959 performed more beautifully, more tenderly, and in a simpler way? The evenness of a refined touch in perfectly curved lines gently brought us the modesty of the theme. This was followed by other sound and rhythmical qualities in a sensual Ravel, a stunning finale of Prokofiev's Sonata No. 4, and delightful pieces by Rameau given as encores! » Éric Heidsieck

 


Braunschweiger Zeitung - June 18 2014

The Depths of Romanticism
Ingmar Lazar astounded with his pianistic journeys


« "I call you to life, O mysterious forces!" Scriabin's epigraph, cited in his 5th Sonata with which Ingmar Lazar culminated his recital, could have been the leitmotiv of his whole programme. ...

The Depths of Romanticism
Ingmar Lazar astounded with his pianistic journeys


« "I call you to life, O mysterious forces!" Scriabin's epigraph, cited in his 5th Sonata with which Ingmar Lazar culminated his recital, could have been the leitmotiv of his whole programme.

The young French pianist treated the audience to an immaculate, supple performance. In the classical and romantic works that he performed, the necessary expressiveness of the repertoire benefited from added depths thanks to his infallible technique and his uncompromising approach. He was able to create a remarkable atmosphere in Schubert's late A Major Sonata that comprised the first part of his recital. With great logic, the pianist linked the recurrent display of audacious passages with the charming dance scenes. Even in the extreme culmination of the gently swaying dance rhythm of the Andantino (a real trip of the romantic era), Ingmar Lazar's playing remained clear and rigorous.

His execution of Beethoven's Sonata No. 5 in the tragic tonality of C minor was also clearly constructed, with a perfect balance between the menacing themes and their lyrical opponents. Wonderful singing tranquility characterised the Adagio, and Lazar demonstrated his wonderful technical skills in the Prestissimo finale. His interpretation of the Chopin Nocturne No. 16 in E-flat Major was completely different, showing a side of the romantic composer in one of his most mystical meditations. This 'night music' was full of intimate warmth, and Lazar also kept a clear metric organization and formal rigour in the complex rhythmical irregularities.

Scriabin's Sonata No. 5 in F-sharp Major, which followed, variously bearing the appellation of poem, is a real adventurous pianistic work with its unexpected eruptions, and with notations such as Con Stravaganza and Estatico. The audacity with which Lazar pounced on the keys was remarkable; drunkenness and ecstasy, with brief melancholic interruptions. The pianist graciously provided the enthusiastic public with three encores. » Ulrich Thiele


L'Alsace - July 10 2012

A virtuosic "Jeunehomme" Concerto

« (…) Deliberately refusing a demonstrative type of playing, Ingmar Lazar preferred a virtuosity without swagger and a sensitivity expressed with the greatest reflection. These produced a great blend with the orchestra. (…) » Jacques Weil

 


Le Berry Républicain - May 25 2012

« Alexandre Brussilovsky and Ingmar Lazar played with evident pleasure. It was not difficult for these two musicians to captivate their audience with such great talent. »

 


Viaţa noastră - December 16 2010

The Moscow Virtuosi in Tel Aviv

« Ingmar Lazar has a number of qualities that are rare, especially for his age: a rich tone of great quality; perfect velocity; the so called « pearled touch »; a subtly nuanced agility and a cantabile phrasing that Mozart transposed to the keyboard through his knowledge of opera composition. (…) » Ruth Guttman Ben Zvi

 


Weser Kurier - June 19 2010

A Wonderfully Controlled Performance

« Lazar was able to surprise everyone with a maturity of playing and interpretation far beyond his 17 years. He certainly did not make life easy for himself when deciding on the order of the works, as he chose to follow the Fantaisie Op. 49 with the Polonaise Op. 44, the two Nocturnes Op. 48, and finally the Scherzo Op. 39. His control was remarkable, and he brought this highly virtuoso, challenging piece to life. ...

A Wonderfully Controlled Performance

« Lazar was able to surprise everyone with a maturity of playing and interpretation far beyond his 17 years. He certainly did not make life easy for himself when deciding on the order of the works, as he chose to follow the Fantaisie Op. 49 with the Polonaise Op. 44, the two Nocturnes Op. 48, and finally the Scherzo Op. 39. His control was remarkable, and he brought this highly virtuoso, challenging piece to life.

If he had not done so already, after the interval, the French pianist won over the remaining hearts of his audience. The Mazurkas Op. 59 provided phases of atmospheric serenity before reaching the Sonata Op. 35, with which the guest achieved his « tour de force ». The four heterogeneous movements - strictly speaking only actually strung together in a row - were bound together by Lazar with stylistic vehemence into an exciting whole. The stormy opening theme of the Doppio movimento in the first movement still retained clarity and inner serenity. Wonderfully controlled playing - which Lazar showed - is the prerequisite for the second movement (Scherzo), with its widely spaced chords and precarious octave leaps. The popular Funeral March, the third movement, had serenity and atmosphere, whereas the immediately following Presto rushed past at the limits of its tempo almost in a dreamlike sequence. Enthusiastic applause followed and was rewarded with an encore. » Manfred Züghart


Schaumburger Zeitung - March 9 2010

Brilliantly virtuosic magical sounds of Chopin
Young pianist Ingmar Lazar hailed by the audience


« [Lazar's] interpretation of Chopin so impressed the audience that they bade their farewell to him with a standing ovation.
(…) He addressed the task of interpreting the artistically distinct periods of Chopin's life in all their colourful facets. In doing so, he withstood the temptation of simply dazzling by pure virtuosity. Instead, he impressed with the detailed plasticity of his shaping and he succeeded brilliantly in uncovering the varying moods of the pieces. (…)

Brilliantly virtuosic magical sounds of Chopin
Young pianist Ingmar Lazar hailed by the audience


« [Lazar's] interpretation of Chopin so impressed the audience that they bade their farewell to him with a standing ovation.
(…) He addressed the task of interpreting the artistically distinct periods of Chopin's life in all their colourful facets. In doing so, he withstood the temptation of simply dazzling by pure virtuosity. Instead, he impressed with the detailed plasticity of his shaping and he succeeded brilliantly in uncovering the varying moods of the pieces. (…) Ingmar Lazar and Chopin were more than just an impressive combination.
(…) His mastery allowed a broad scale of expression to unfold, such as in the Fantasie Op. 49 or the 3 Mazurkas Op. 59 that followed. (…)

It was surprising how quickly we forgot everything we thought about Chopin performers and marvelled at the charm that was prevalent during his playing. In the very exciting Scherzo No. 3, Op. 39, with which he ended his recital, Ingmar Lazar also revealed absolutely reliable virtuosity and accurate delicacy. A Sonata movement, which was played as an encore due to the rapturous applause, was an extra highlight. »


Le Quotidien du Médecin - November 23 2009

« We will not forget the performance of Ingmar Lazar. He demonstrated a perfect mastery of the instrument and an undeniable artistic temperament. » Olivier Brunel

 


La Croix - January 13 2006

The Child Prodigy and the Other

« It was one of those shocks where one was left wondering: the two hands of the child running on the keyboard, his ten fingers dancing like Lilliputs from left to right. A sovereign mastery showed that we are dealing with a young prodigy who draws silence from the listener. » Pierre-Yves le Priol

 


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