Photo: Andrej Grilc

 
Press

2022

 

“Grosvenor’s performance is natural and modest … He does not have to make himself interesting by being ingeniously reserved or extroverted … His exciting emotional range matches his enormous dynamic palette … [In Liszt’s B Minor Sonata], Grosvenor unleashes all his virtuosity in sometimes frightening tempi and yet creates a giant narrative of Faustian depth - with massive chordal blows to the gates of hell, deep recitative-like laments, a fugue of wandering and deeply submerged bell sounds that emerge from the Mephistophelean fires … The knowledgeable audience in the Small Hall of the Konzerthaus followed every note with rapt attention. Their cheers were guaranteed."

- Der Tagesspiegel, May 2022

“Breathtaking … it was an exemplary violin-piano evening of the highest quality in every respect. Both, the wonderful violinist Hyeyoon Park and the fabulous pianist Benjamin Grosvenor, as respective masters of their instruments and in the breathtaking togetherness of their interplay, fulfilled the requirements for higher virtuosity ... limitless tonal variety, rhythmic finesse and sparkling artistry."
- Süddeutsche Zeitung, May 2022

“theatre at the keyboard without breaking a sweat. A remarkable sight … Grosvenor is an assertive player, drawing on remarkable reserves of power at a moments notice, helping him create epic dramatic contrasts whenever the score dictates. He conjures up a symphonic sound at the keyboard, contrasting vast sound worlds with tender moments that linger and occasions haunt.”

- Thoroughly Good, May 2022

"Grosvenor’s playing was exemplary. The correct balance between rigour and passion seems to come naturally to him for this music, and it is not overstating the case to place him as the foremost interpreter of both Chopin concertos of our times."

- Vox Carnyx, April 2022

"Grosvenor really understands the balance of drama and beauty that [Chopin’s Second Piano Concerto] needs. There is muscularity to his playing, but it is always tinged with sweetness, and under his fingers the music’s urgent drama can turn to bel canto lyricism in an instant. He played the dreamy, gorgeous slow movement with a touch of insouciance so that it never lost a hint of spice, and he communicated admirably well with Carneiro. Every time conductor Joana Carneiro turned around and I caught a glimpse of her face, she had a beaming smile of contentment. Rightly so: we in the audience had one, too."

- Seen and Heard International, April 2022

 

"Going from the superlative of the piano to the triple fortissimo, with a use of the pedals as virtuoso as his fingers, Grosvenor brings an orchestra into his piano; his phrasings have the elasticity, the weight as much as the weightlessness"

- Bachtrack, April 2022

 

“Grosvenor closed the program with brilliant performances of two Ravel showpieces. Jeax d’eau positively shimmered, and La Valse lit up the room with his pianistic fireworks.”

- Classical Music Guide, April 2022

 

"Grosvenor’s artistry is notable for its style, wit and narrative focus … he delivered hit after hit in dazzling Philadelphia recital … Five years after his debut, he returned to the Philadelphia Chamber Music Society and cemented his status as one of the premier pianists of his generation."

- Bachtrack, April 2022

"Perhaps Grosvenor is the greatest pianist of his generation. It is not important to label him, in any case. What matters is his poetic voice, his chromatic palette and his adventurous takes on traditional repertoire, all supported by a monumental technique that allows him to approach whatever he wants with utmost naturality ... there are very few of his calibre.”

- Miami Clásica, April 2022

"It hardly seems possible, but the British pianist’s preternaturally developed technique was even more impressive this visit than in his Philadelphia recital debut in 2017 … if there was one point on the program where performer and piece seemed made for each other it was in Franck’s Prelude, Choral et Fugue, FWV. 21 … It’s a technically demanding piece and one that benefits from emotional complexity. Here was music that emerged in idealised form."
- The Philadelphia Inquirer, April 2022

“[In Chopin’s Piano Concerto No. 2, Grosvenor] captured the brooding agitation of the opening Maestoso, where he was in sync with the rhapsodically shifting moods of Chopin’s writing. The exquisite central Larghetto had the intimate feel of one of the composer’s Nocturnes, Grosvenor sustaining its limpid melodies to great effect ... audiences can look forward to future outings from the young British star.”

- Chicago Classical Review, March 2022 ****

“Once again, it was the case that everything Grosvenor touches turns to gold. He is not a showy performer, and you can only be amazed by the guileless naturalness of his style.”

- Classical Source, February 2022

“Benjamin Grosvenor was in his element, relishing the exchanges with members of the orchestra – the brief duet with clarinettist Maximiliano Martin was particularly lovely. I don’t know who, apart from a conductor, could have sculpted the orchestral sound quite so persuasively; for example, there was a whole passage for muted strings played fortissimo, producing an extraordinary sense of menace.”

- The Arts Desk, February 2022 ****

“… two refreshing minds came together, [with] soloist Benjamin Grosvenor joining Emelyanychev and his team for a performance of Liszt’s single-movement Piano Concerto No 1 with compelling results. Grosvenor’s approach was utterly thrilling, on the one hand assertive and rhetorical, on the other eschewing indulgence and self-absorbed showmanship of the sort that so often skews the logic of Liszt’s cohesive thematic scheme.”

- Vox Carnyx, February 2022

"[Grosvenor and Emelyanychev] made the concerto sing. Most of their success came from a brilliant study of contrasts. The hammer-like opening sounded surprisingly weighty from a chamber orchestra, and Grosvenor answered it with fistfuls of muscular octaves; but almost immediately the music slipped into something altogether more tender and intimate, the piano singing gently alongside the orchestral soloists in a way that brought out the music’s unusual lyricism. The second section sounded impossibly dreamy, and the finale was part triumphal march and part jolly holiday. Liszt sceptics take note: this is music of passion and poetry when it is played under the right hands."

- Seen and Heard International, February 2022

"Emeyanychev matched power and precision throughout, with brisk tempos and stark dynamic contrasts – an energy and vividness he continued in the Liszt First Piano Concerto that followed. The SCO was on gripping form, but soloist Benjamin Grosvenor was more than a match in terms of sheer pianistic power and definition, also playing up the piece’s rhapsodic unpredictability to beguiling effect ... it was an evening of revelations."

- The Scotsman, February 2022 ****

“The individual movements which make up Kreisleriana veer from one emotional extreme, reflecting the two very different sides to Schumann’s character … Grosvenor captured each extreme with total conviction, his seemingly effortless virtuosity allowing him to inhabit its worlds of unbuttoned exuberance, rapt reflection…and just about every emotional state in between.”

- Reviews Gate, January 2022 *****

"Once in a great while a musician will play an old warhorse with such nuance and freshness that one is reminded of all the reasons it became a concert mainstay. Such was the case with Benjamin Grosvenor’s performance of Grieg’s Piano Concerto Friday night with the Utah Symphony at Abravanel Hall … Grosvenor highlighted the piece’s soulful qualities in a way that made its virtuosic climaxes even more powerful … Grosvenor’s synergy with Trevino and the orchestra reached its apex in the triumphant finale, with an explosive finish that brought the audience to its feet."

- Utah Arts Review, January 2022