(performance of Ravel’s Piano Concerto in G Major)
“incredible performance full of emotions… virtuoso playing at its best”
(performance of Ravel’s Piano Concerto in G Major)
“incredible performance full of emotions… virtuoso playing at its best”
“Brahms’ Second Piano Concerto, played by Nadia Shpachenko, was clearly the highlight of the evening. It is a demanding piece and Shpachenko was up to its difficult demands. Her attack and technique were excellent and she showed some fine musicianship. She was heavy-handed when she needed to be and light textured when that was called for… Overall, it was a pleasure to hear her performance. The beautiful third movement (Andante) was where she showed her musical heart. It was truly inspiring.”
“Brahms’ Second Piano Concerto, played by Nadia Shpachenko, was clearly the highlight of the evening. It is a demanding piece and Shpachenko was up to its difficult demands. Her attack and technique were excellent and she showed some fine musicianship. She was heavy-handed when she needed to be and light textured when that was called for… Overall, it was a pleasure to hear her performance. The beautiful third movement (Andante) was where she showed her musical heart. It was truly inspiring.”
“Bright, inventive, imaginative, and rife with Gershwinesque chords, Ravel’s Piano Concerto in G Major featured pianist Nadia Shpachenko and the sparkling work of piccolo, trumpet and percussion. [San Bernardino Symphony] Orchestra and soloist neatly handled the sudden meter changes, especially for the winds in the third movement. Shpachenko ably tackled every possible piano technique, and despite the piano’s thick voicing, gave amazing articulation to the staccato work and the warp speed arpeggios of the first movement... Shpachenko and Lynnette Kobernik on English horn raised the performance level to sublime on their long duet.”
“Bright, inventive, imaginative, and rife with Gershwinesque chords, Ravel’s Piano Concerto in G Major featured pianist Nadia Shpachenko and the sparkling work of piccolo, trumpet and percussion. [San Bernardino Symphony] Orchestra and soloist neatly handled the sudden meter changes, especially for the winds in the third movement. Shpachenko ably tackled every possible piano technique, and despite the piano’s thick voicing, gave amazing articulation to the staccato work and the warp speed arpeggios of the first movement. In the second movement, after the long, poignant opening solo, Shpachenko and Lynnette Kobernik on English horn raised the performance level to sublime on their long duet, with Shpachenko sensitively and lightly playing a deceptively difficult left-hand boom-chuck-chuck line throughout the movement.”
“The highlight of the evening was after the intermission when Nadia Shpachenko played Sergei Rachmaninoff’s Piano Concerto No. 2 in C minor. She is a brilliant young piano soloist… Her rendition of the Rachmaninoff Concerto matched every preconceived idea of what is best in Russian piano music; it was lively and pyrotechnic, dark and brooding, delicate and sensuous… The balance between the soloist and the orchestra was superb. In the more delicate second movement, the pianist and members of the woodwind and French horn sections each had exquisite incidental duets. The music making was sublime.”
“The highlight of the evening was after the intermission when Nadia Shpachenko played Sergei Rachmaninoff’s Piano Concerto No. 2 in C minor. She is a brilliant young piano soloist… Her rendition of the Rachmaninoff Concerto matched every preconceived idea of what is best in Russian piano music; it was lively and pyrotechnic, dark and brooding, delicate and sensuous… The balance between the soloist and the orchestra was superb. In the more delicate second movement, the pianist and members of the woodwind and French horn sections each had exquisite incidental duets. The music making was sublime.”
“Pianist Nadia Shpachenko captured Rachmaninoff’s nuances and introspective depths of feeling in her performance [of Rachmaninoff’s Piano Concerto No. 2)… The exchanges between Shpachenko, Fetta, and the orchestra clearly showed a high level of communication between them… Shpachenko displayed a maturity of style and depth of emotion well beyond her young age.”
“Pianist Nadia Shpachenko captured Rachmaninoff’s nuances and introspective depths of feeling in her performance [of Rachmaninoff’s Piano Concerto No. 2)… The exchanges between Shpachenko, Fetta, and the orchestra clearly showed a high level of communication between them… Shpachenko displayed a maturity of style and depth of emotion well beyond her young age.”
“The opening work featured pianist Nadia Shpachenko… Her performance of the Emperor Concerto was polished and refined, with much care given to bring out the composer’s intricate contrapuntal inner voices. Her tone was full and rich throughout.”
“The opening work featured pianist Nadia Shpachenko… Her performance of the Emperor Concerto was polished and refined, with much care given to bring out the composer’s intricate contrapuntal inner voices. Her tone was full and rich throughout.”
“Bajo la batuta como director invitado de David Amos, la Orquesta interpretó también temas de Franz Joseph Haydn y Ludwig V. Beethoven, con una memorable participación de la brillante pianista Nadia Shpachenko quien hizo una verdadera gala de su virtuosismo… El público se mantuvo muy atento y emocionado hasta el final, donde disfrutaron del concierto Emperador, una pieza de Beethoven de trinta y siete minutos en los que la orquesta les regaló una de sus mejores interpretaciones, monstrando la belleza y complejidad de la musica del siglo XVIII, mientras que Shpachenko tocó cada uno de los temas con exquisitez y sensibilidad a flor de piel, transmitiendo su amor y pasión por la música.”
“Bajo la batuta como director invitado de David Amos, la Orquesta interpretó también temas de Franz Joseph Haydn y Ludwig V. Beethoven, con una memorable participación de la brillante pianista Nadia Shpachenko quien hizo una verdadera gala de su virtuosismo… El público se mantuvo muy atento y emocionado hasta el final, donde disfrutaron del concierto Emperador, una pieza de Beethoven de trinta y siete minutos en los que la orquesta les regaló una de sus mejores interpretaciones, monstrando la belleza y complejidad de la musica del siglo XVIII, mientras que Shpachenko tocó cada uno de los temas con exquisitez y sensibilidad a flor de piel, transmitiendo su amor y pasión por la música.”
Translation:“Under the baton of guest conductor David Amos, the orchestra also performed pieces by Franz Joseph Haydn and Ludwig V. Beethoven with a memorable participation of brilliant pianist Nadia Shpachenko, who showcased her true virtuosity… The audience was very attentive and excited throughout, where they enjoyed the Emperor Concerto, a thirty-seven minute piece by Beethoven, in which the orchestra presented one of its best performances, projecting the beauty and complexity of the music of the 18th century, while Shpachenko played each of the themes with delicacy and sensitivity, conveying her love and passion for music.”
“Vacaville audiences – as audiences anywhere might – may be able to take contemporary music only in small doses, but there’s hope for more after Shpachenko’s concert. Her spirit and wiliness to take a chance, to be adventurous without apology, to introduce audiences to contemporary piano music like Crumb’s – and to play it exceedingly well and animatedly – make Shpachenko an important and significant emerging artist. She is a successor to Margaret Leng Tan.”
“Vacaville audiences – as audiences anywhere might – may be able to take contemporary music only in small doses, but there’s hope for more after Shpachenko’s concert. Her spirit and wiliness to take a chance, to be adventurous without apology, to introduce audiences to contemporary piano music like Crumb’s – and to play it exceedingly well and animatedly – make Shpachenko an important and significant emerging artist. She is a successor to Margaret Leng Tan.”
“The crime was perpetrated by narrator Robert Sherman, aided and abetted by Julie Landsman, horn, and Nadia Shpachenko, piano, both of whom played beautifully, as far as could be determined.”
“The crime was perpetrated by narrator Robert Sherman, aided and abetted by Julie Landsman, horn, and Nadia Shpachenko, piano, both of whom played beautifully, as far as could be determined.”
“The second movement Andante [of Mozart’s Sonata in F Major, K. 533], played with a beautiful tone set in a chamber mode, flowing, yet calm, showed the pianist’s good musical taste. I found the play of light and the shadow of the sonority very engaging… The New York premiere of the very demanding and effective Homage to Ligeti by Michael Garson was received with great enthusiasm.”
“The second movement Andante [of Mozart’s Sonata in F Major, K. 533], played with a beautiful tone set in a chamber mode, flowing, yet calm, showed the pianist’s good musical taste. I found the play of light and the shadow of the sonority very engaging… The New York premiere of the very demanding and effective Homage to Ligeti by Michael Garson was received with great enthusiasm.”