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‘Here is another pretty young Russian pianist, and this one has genuine talent. Lisovskaya was trained in Moscow and London and has appeared in the major European cities, but apparently not yet in the US. Apart from Sonata 4, composed in 1903, the 26 pieces are presented in the order written — from Opus 2 of 1888–1889 to Vers la Flamme of 1914 — which allows her to show the development of Scriabin’s style. It’s devilishly hard to convey adequately his unique mix of mysticism and sexuality, and I’m impressed by how well she does it. She’s technically sound and plays with strength, well–judged tempos, nicely rounded phrases, and a good sense of tone and colour. She’s appropriately lyrical in the early works and manages the surging ecstasies of the sonata and Vers la Flamme with power and beauty, coming close to the standard set by Sofronitsky and Richter for these pieces. These are outstanding performances, recorded in exceptionally good sound.’ American Record Guide, Morin
‘Russian pianist Sophia Lisovskaya, who studied at the Royal Academy of Music, presented a rewarding recital at the Wigmore Hall on 1st May. Bach’s First Partita BWV 852 opened up a faultless technique. The liquid flow of the Allemande still had depth with phrasing and dynamics finely balanced. If the Corrente flowed like a torrent, bouncy, light yet with a complex drama permeating throughout, then the repose of the Sarabande stemmed the flight with tiny hints of rubato effectively shaping the movement. Her trills throughout were a perceptive part of the music aided by a meticulous skill that never wavered. Lisovskaya’s interpretative power was no better felt that in the works of Scriabin. Full of expression and dramatic edge, her choice of five Preludes from Opuses 11 and 16 were distinctly coloured. No 6 of the former, dark and penetrating, No 1 of the latter, delicate and refined. The sensuality of Vers la flamme was countered by a great moment of tension built up with remarkable composure. Lisovskaya’s performances were powerful indeed, embracing Scriabin’s kaleidoscopic detail. Whatever physical limitations Schumann may have possessed in his desire to fulfill evermore expressive keyboard sonorities Lisovskaya demonstrated her ability to overcome them in his Fantasy. The warmth of her playing seized the gamut of emotion contained in the work to produce a lucid yet unmistakably mature account to end her stunning recital.’ Sophia Lisovskaya at the Wigmore Hall - Musical Opinion - David Alker
‘The beauty of Lisovskaya’s playing is ravishing.’ Piano News - Stefan Dettlinger
‘Moscow–born pianist Sophia Lisovskaya has what it takes to bring this music to life: a beautiful, robust sonority, plus secure, well–drilled fingers that can take care of anything and make it sound easy.’ Classics Today - Jed Distler
‘There is no denying that Lisovskaya possesses the sensitivity and technique that allows her to step beyond the technical pitfalls Scriabin’s music is littered with.’ Le Monde de la Musique - Michel Le Naour
‘(Rachmaninoff’s) introspective fifth Prelude (Op. 32) was a work of art under Lisovskaya…’ Musical Opinion
‘I like her in the dreamy little pieces… Lisovskaya can certainly be sensitive.’ BBC Music Magazine - Adrian Jack
‘Take for example the Rachmaninov Piano Concerto no. 2. With the inherent dynamics and resolute touch that Sophia Lisovskaya proved to command, she still gave the piano parts full justice, as in the assiduous chords of the final phrases in the first movement. But surely the most delicious passages were those that she performed with smaller constellations, or with the strings just as an accent, like in the opening of the second movement. And surely it would have been delightful to hear the piano alone afterwards, in an ever so short encore, chiefly to get a further experience of Sophia Lisovskaya’s intimate relation to the piano. Not even thirty years of age, she already possesses a natural authority as a musician, but in a humble and discreet manner.’ Västmanlands Läns Tidning, Sweden - Birgit Ahlberg–Hyse
‘… Sophia Lisovskaya, who has appeared on the scene of the La Sala Greppi for the Bergamo audience, coming from the legendary Russian school of Heinrich Neuhaus and Vladimir Sofronitsky, offering a varied and diversified programme spilt between West and East, between Europe and Russia. The artist gave her audience a touch of true poetry in her interpretation of the two Chopin’s ‘Mazurkas’ Op. 17 (in particular no 4) ‘weaving’ highly sophisticated chromatic melanges, hanging magically — totally enchanting and hypnotic. The barcarolle Op. 60, had a similar lyrical qualities… Miss Lisovskaya gave her absolute best in the ‘Seasons’ by Tchaikovsky, with their sketch like quality, lyrical and quintessentially poetic, the interpreter knew exactly how to ‘strike’ the right chords!…’ L’Eco di Bergamo, Italy - Bernadino Zappa
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