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Benjamin receives excellent reviews for South American debuts

June 12, 2017

Benjamin has received excellent reviews for his recent debuts in Brazil, Uruguay, Perú and Colombia. Enjoy a selection of the reviews and comments below.

 Jornal do Brasil (review of Benjamin's Brazil debut at Teatro Municipal do Rio de Janeiro, May 2017)

“Grosvenor is a great pianist, in addition to his impeccable technique, demonstrated through his beautiful playing an enchanting poetry, with the realisation of lovely pianissimos and of round, well-proportioned fortes … Grosvenor has the fullest wisdom and knowledge of the styles of musical literature, nowadays increasingly rare. The filigree of Spanish music had in Grosvenor’s fingers the most refinement one could hope for … a young pianist on stage with profound wisdom, a refined and virtuous technique and above all an impressive musical intelligence.  His concentration moves the most demanding listeners. He is a distinguished pianist, natural, virtuosic, intense, possessor of an enviably sonorous palette and also of a brilliant career.  Bravo to the pianist Benjamin Grosvenor.”

 

O Estado de S. Paulo (review of Benjamin's recital at Sala São Paulo, May 2017)

“… a night of the best romantic pianism in the vein of the great 19th-century virtuosos … a lion taming the imposing Steinway concert grand … [In Beethoven he demonstrated] superlative technique and sensitivity to the outer layers, in precisely the right doses … Two fragrant elements of the pianist particularly enchanted me: his fine subtlety in the construction of phrases in the delicate Arabesque of Schumann … The choice of Spanish music in the final part led us to a climax in which virtuosity, necessary both in Granados and in Liszt, was victorious - as befits a recital, making the public tremble with the true magic of the Spanish Rhapsody.”

 

El Pais (review of Benjamin's Uruguay debut at Teatro Solís Montevideo, May 2017)

“Grosvenor showed his expressiveness with exceptional phrasing … with a perfect sonorous balance, growing and diminishing harmonically, without unnecessary haste or accentuations. [On works by the Spanish composer Enrique Granados] Grosvenor’s versions surprised us with the richness with which they were approached. In them he showed a total emotional rapport with the spirit of the author rarely witnessed in a pianist of non-Latin origin. [On Liszt’s Spanish Rhapsody] Its execution demands in the first place a true virtuoso and Grosvenor undoubtedly is that. In addition we must highlight the wealth of tone colour that he deployed in unfolding the work, where the beauty of his pianissimos contrasted with his rounded fortes … Undoubtedly Grosvenor is one of the great hopes of current pianism.”

 

Búsqueda (review of Benjamin's Uruguay debut at Teatro Solís Montevideo, May 2017)

“[Benjamin Grosvenor] surpassed the expectations of many attending the recital, including my own … we proceeded, step by step, from astonishment to astonishment. The scintillation began with Schumann’s Arabeske opus 18 sung by Grosvenor in a voice of extreme delicacy … [In Beethoven’s Moonlight sonata] the artist showed magnificent cohesion and great delicacy of touch. The brief allegretto interlude was a haven of grace and good taste before landing in the whirlwind of the presto agitato finale … Grosvenor’s hands not only flew but managed to propel the music in waves of expressive intensity, until a culmination that left the audience breathless. I do not remember hearing in recent years another version of this work with the accuracy, musicality and emotional impact achieved by Grosvenor … [he] produced Scriabin with an enviable transparency between the two hands, then journeyed through Granados with wit and shades of colour and ended with an explosive Liszt, where the inevitable virtuosity never prevented the singing line from always emerging amidst the tangle of notes.”

 

 

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