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“Di rado un’esibizione dal
vivo raggiunge il nitore formale e la
cristallina perfezione, tuttavia è possibile il raro verificarsi di eventi che vi si approssimano molto: è il caso
del recital del pianista argentino Nelson Goerner. Presentando un programma molto ampio,
[Chopin, Liszt, Granados, Debussy]
…L’indiscussa maestria e l’ardimentoso talento del pianista, l’eleganza di un tocco sempre supportato
dal perfetto rigore della tecnica, hanno espresso il migliore di se […] Goerner ha rivelato l’attenzione minuta del
e preziosa riservata al particolare dinamico, cesellando piani e pianissimi con l’abilità di un maestro orafo”
Libertà, Pesaro, 11 November 2004, Alessandra Gregori
"He seems incapable of giving a routine performance
of even the most
overplayed repertoire - yet there is not even the merest hint of gimmickry in his performances.
What makes his playing so special is its combination of glorious depth and richness of tone
with fine musical intelligence; he played even the
luscious 18th variation of the Paganini with exquisite delicacy."
Guardian, Manchester 3 February 2004
"Friday's soloist, the Argentinian pianist Nelson
Goerner, wove supreme sensitivity and limpid clarity into his performance. The final movement,
in which he drew some surprising hints of
romantic depth from the music, stood out as particularly impressive." (Mozart K 491)
Glasgow Herald, London, 20 October 2003
"This young Argentinian pianist, discovered
by Martha Argerich ten years ago, is a marvel. He makes an intense, dark sound ...
coupled with highly-focussed, extremely earthy playing."
Le Monde de la Musique,
Paris, September 2003,
Olivier Bellamy
"Nelson Goerner's playing of
Prokofiev's Third Piano
Concerto on Saturday was so good that it eclipsed the rest of the BBC Philharmonic's programme ... Goerner had full
measure not only of the concerto's formidable technical feats but also of its effervescence.
There is a genuine thrill in hearing a pianist tackle this music head-on, giving the impression,
maybe, of impetuous abandon but in reality having
every facet of it under control. He played fast, but the rhythms were taut ; he tapped the
concerto's lyrical seam, but
knew how to colour it with those citrus harmonies and pepper it with Prokofiev's wit."
Daily Telegraph, London 4 August 2003, Geoffrey Norris
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