The popularity of the Russian player Evgeny Kissin, World Health Organization has affected listeners along with his Brobdingnagian gifts since his days as a baby prodigy, remains as sturdy as ever, evident from the capability audience at his recital on Fri evening at Carnegie Hall. The stage was thronged with additional seating to accommodate listeners, because it sometimes is for a few of celebrity artists.
Mr. Kissin offered a program spanning fifty years, with the works performed in written record order, from the national capital humanities these days Haydn to the daredevil science of Liszt. He explored Beethoven and Schubert on the means, along with his beautiful interpretations of 4 Schubert Impromptus the highlight of the program.
Mr. Kissin began the Schubert section with the Impromptu in F minor (D. 935, No. 1). He contend with a heat bit, with the melodies, gently echoed between higher and lower registers, development with a stunning intimacy.
After a sleek rendition of the Impromptu in B-flat (D. 935, No. 3), he offered a poetic interpretation of the G-flat (D. 899, No. 3), building in AN arc from the introspective gap to turbulent succeeding sections. there have been conjointly stunning dramatic contrasts in his rendition of the Impromptu in A-flat (D. 899, No. 4), with the theme unfurled with a poignant intimacy.
I enjoyed man. Kissin’s interpretation of the Haydn and Beethoven sonatas less. Haydn wrote some sixty sonatas in forty years, his sonata in E-flat (Hob. XVI: 49) one amongst his final contributions to the genre. Mr. Kissin contend with a spread of colours and a sensitive bit, however over all the rendition appeared lackluster, missing a necessary spark.
There were exciting components to his performance of Beethoven’s sonata No. thirty two in C minor (Op. 111), starting with the powerful gap chords and therefore the sense of drama he imbued at crucial moments. however the themes typically lacked an important nobility, stopping wanting transcendence.
Mr. Kissin complete the program with a muscular rendition of Liszt’s Hungarian epic No. twelve in C-sharp minor, a virtuoso oddment and vehicle for his dazzling technique.
Mr. Kissin is thought for giving myriad encores; throughout one Carnegie concert in 2007 he performed twelve. Here, he offered three: Sgambati’s transcription of the “Dance of the Blessed Spirits” from Gluck’s “Orfeo impotence Euridice,” Liszt’s F-minor Transcendental Étude, and Liszt’s transcription of Schubert’s “Die Forelle.”