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15 February 2012
Saint-Saëns: Piano Concerto No. 2 in g minor, op. 22Russian Chamber Philharmonic Orchestra ST. Petersburg,
Miran Vaupotich
Theater Ansbach, Germany
More info: www.theater-ansbach.de
Nicolas Costantinou gave an immaculate account of Mozart’s often genial sonata K 333 on 22 July with all the tempo fluctuations sounding natural. The Andante sang consistently as well and the quite extrovert finale was spritely with moments of vehemence. It was followed with a heroic response to the originality and expressive power of Chopin’s F minor Fantasy, Op. 49. Costantinou also understood this work’s sense of freedom, its grandeur and the inevitability of its unfolding. … (Musical Opinion)
Nicolas Costantinou began with Bach’s C minor Partita BWV 826, a notably clean and involving reading, which was followed by Debussy’s Second Book of Images, in which the music’s inherent Impressionism was well to the fore, particularly during the concluding Poissons d’or. (Musical Opinion)
…Nicolas proved himself to be an artist of deep emotions, who is capable of interpreting music with his whole being and soul… (KALEVA)
Listening, almost accidentally, to Nicolas Costantinou’s performances I must confess that I found myself confronted with colossal interpretation… (Dimitri Nicolau)
Nicolas Costantinou began with Bach’s C minor Partita BWV 826, a notably clean and involving reading, which was followed by Debussy’s Second Book of Images, in which the music’s inherent Impressionism was well to the fore, particularly during the concluding Poissons d’or. (Musical Opinion)
…Nicolas proved himself to be an artist of deep emotions, who is capable of interpreting music with his whole being and soul… (KALEVA)
Listening, almost accidentally, to Nicolas Costantinou’s performances I must confess that I found myself confronted with colossal interpretation… (Dimitri Nicolau)