Roman Rabinovich - piano
Weekend MusicWatch, November 25 2011
Brett Campbell
"Rabinovich displayed seemingly unflappable virtuosity… and made the piano seem an extension of his body, coaxing vast swaths of sound from the instrument even at quick tempos. Despite reducing exceptionally colorful music composed by classical music’s pre-eminent orchestrator to a single instrument, in Rabinovich’s able hands, nothing felt missing. He produced such dramatic effects that you didn’t need a synopsis to understand the basic emotional arc of the myth it’s based on."
classicalmusicguide.com, July 29 2011
Donald Isler
"He played with very fine nuancing which, together with terrific fingers, made for wonderful clarity in multi-voice writing. Mr. Rabinovich's impressive arrangement of Daphnis and Chloe was wonderful, and one especially couldn't help but notice the exotic beauty of the second movement. The fast movements were exhilarating, especially the fiendishly difficult concluding Danse générale…a blockbuster performance of Petrushka, which was hugely impressive! He caught all the changes of mood wonderfully from sprightly to ironic to coy to forceful. The clarity of voicing referred to before, plus his wonderful rhythmic sense (especially with syncopation) and his terrific imagination all worked to great effect."
Sequenza21.com, March 29 2011
Ilona Oltuski
Rabinovich unites the most sensitive moments with his utmost pianissimo and seemingly expands time until he creates virtuosic turmoil with all the power of his well balanced hands, over the keyboard.
Seen and Heard International, March 28 2011
Stan Metzger
Roman Rabinovich's accompaniment was always sensitive to the clarinet and vigorous in the piano's two solo variations… Rabinovich took the lead in this trio, performing with zest and always keeping an eye on the violinist to assure they were in synch
Ann Arbor.com, March 13 2011
Roger LeLievre
His performance of Rachmaninoff’s Piano Concerto No. 3 in D minor was electric. To say the Israeli pianist — winner of the Arthur Rubinstein International Piano Master Competition three years ago and a long-time acquaintance of A2SO conductor Arie Lipsky — brought the house down would probably be an understatement. Rabinovich — displaying impressive self-confidence — delivered a performance that was focused, emotional, strikingly nuanced and superbly executed… Returning to the onstage for multiple curtain calls, Rabinovich offered two short encores — a work by Scarlatti and a deftly executed sampling from Stravinky’s Petrushka. The thing about Rabinovich is that he made his performance look ridiculously easy. The novice young piano student I may have been years ago was insanely jealous, but the adult music lover I’ve evolved into was delighted and enthralled.
San Francisco Classical Voice, August 10 2010
Janos Gereben
[A] remarkable performance from Roman Rabinovich, a pianist whose mature, self-assured playing belies his chronological age.
Musical Opinion, March-April 2009
Margaret Davies
The Scarlatti sonatas illustrated the fine detail of his playing as well as his complete lack of flamboyance: he served the composer and was a channel for Scarlatti’s music. The challenging Sonata in G drew from him a performance of vivacity and virtuosity such as must have secured him the prize, but the impeccable clarity of execution still shone through.
He brought the same self-effacing calm and a rock-solid technique to Brahms’ Handel Variations negotiating the 25 variations and fugue and their range of styles with a wealth of tonal nuance, unruffled calm and dazzling ability.
Wigmore Hall, solo recital, 5 Feb 2009
Leipziger Volgszeitung, June 24 2008
Rabinovich develops [inter]connections, uncovers layers and lets the Steinway sound sparkle. …The pianist approaches Beethoven's Sonata in A-flat, op. 110 with careful consideration and develops an unusual intricate play of coloration; he dedicates himself to the nuances. And that is good.
Hagai Hitron, Haaretz, March 2008
He exhibited an ultimate and captivating artistic level.
Record Geijutsu Editor's Report, May 2 2008
Peter Cossé
I have rarely seen an artist with such individual and communicative charisma.
His playing is spontaneous, calculated and sophisticated.
He reminded me of Glenn Gould, in his explosive, provoking and arbitrary behavior.
Tubingen at Pfleghof, September 27 2007
<…> the Pfleghof must have rarely heard such a thundering applause. Rabinovich had to return to the stag three times before the break.”
Rabinovich’s powdery timbre was extraordinary.
Radical and absolute (about Beethoven’s Appassionata)
Silk-like leggerissimo, rhythmic, but also griming winter storms and whistling thirds like rockets (about Chopin’s Preludes op 28)
Some of his ideas might seem unconventional, but he is believable. In his playing you’ll find something substantial and true.
Each note is longing for the following one-this is Rabinovich.
New York Concert Review, March 2007
Harris Goldsmith
Roman Rabinovich tempered his natural exuberance with unusual maturity and discretion: his virtuosity sizzled but never once intimidated.
[Roman Rabinovich] is patently serious, musically and obviously a technically strong player.
His nauancing and ornamentation were thoroughly stylish and pianistic in the best sense. (about Bach Partita no.6)
Balakirev’s wickedly difficult oriental Fantasy, Islamey, was recreated with confidence, excitement and every not-its-place detail.
South Florida Sun – Sentinel, November 2006
David Fleshler
The young pianist Roman Rabinovich skillfully and sensitively navigated the intense but transitory emotions, as each prelude appeared, expressed a single mood and vanished without a wasted note. (about Chopin’s preludes)
Opening with appropriately sinister tone, he plunged into a dramatic interpretation that taxed the power of the Yamaha grand on the stage. (about Beethoven’s Appasionata)
Ann Arbor News, January 23 2006
Roger Lelievre
During intermission, it seemed all anyone was talking about was Rabinovich <…> His musical canvas, on display for the Concerto for Piano and Orchestra No. 20 in D Minor, was filled with delicate pastels and vivid hues <…> the audience seemed to be hanging on every emotional note.
West Palm Beach Daily News, March 2006
Joseph Youngblood
Rabinovich has full technical command of the piano, and plays with a great deal of sensitivity.
Rabinovich brought a surprisingly mature interpretation to this work, bringing out the lyricism and the sweeping phrasing. It was a special treat to hear this work, and to hear it performed so well. (about Berg Sonata op 1)
Rabinovich stayed on stage for Mily Balakirev's fiendishly difficult Islamey, subtitled An Oriental Fantasy. His playing was brilliant, clean, and well articulated. Though billed as the most difficult work in the repertoire, Rabinovich had it completely under control. It may seem unusual to find someone so young with such prodigious technique.
