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La Repubblica, Roma
Bresciani’s seductive Liszt

"In Bresciani we have a pianist who has studied composition to achieve a better understanding of the composers he performs; his studies with Vitale turned him into an accomplished Lisztian virtuoso; he then enriched his style in the schools of Magaloff and Jasinsky. While he remains a virtuoso, he rarely plays for effect, preferring a deeper understanding, clarity, sobriety and a captivating use of phrasing, in which we sometimes feel a touch of irony. In his performance of the Reminiscences of Don Giovanni, Bresciani is acute in his realization of the demoniacal personality of the celebrated figure, in whom Liszt, more still than Mozart, saw the attributes of the seducer."

Corriere della Sera, Roma
The Mozart transcriptions

"Vittorio Bresciani managed, generally succeded in saving his interpretation from what might have been a risky display of narcissistic acrobatics and extraordinarily brilliant but entirely ‘external’ effects at the keyboard. In the Reminiscences of Don Giovanni by Mozart, he recreated, with remarkable maturity of expression, the various states of mind of the exuberant ‘Burlador’, galloping through the crucial events of his own mythical life. Poetry and subtlety of timbre prevailed in his account of the Fantasy on the Nozze di Figaro, where Busoni's bold mastery of technique added new strings to the bow of Liszt's virtuosity."

Il Giornale, Milano
Songs without Words

"In his playing of the Schubert Song Transcriptions by Liszt, Bresciani has a brilliant though subtle feeling for perspective, which enables him, as a single interpreter, to distinguish the singing voice from its underlying accompaniment, without ever exaggerating Schubert’s intimate tone, which the pianist elicits with admirable feeling from the heart of these transcriptions. There is sobriety, too, in his playing, a reserve which enhances even the slightest rubato, a feeling for the colour and never failing secret pulse of this music."

Radio Rai 3
Archives of the programme Mattinotre, Rome
Mario Bortolotto reviews the Franz Liszt Piano Duo’s concert for the IUC, Rome

"Vittorio Bresciani and Francesco Nicolosi are two splendid pianists. The programme was entirely dedicated to Liszt and included the three symphonic poems Tasso, Les Préludes and Orpheus, followed by the Dante-Symphonie, in which the Female Chorus of the Teatro dell’Opera of Rome joined the pianists. The perfect adherence of the two pianists to Liszt’s pianistic idiom is extraordinary. They are ideal interpreters of this type of music; the symphonic poems are not simply arranged, but admirably reconceived for the piano. This music is astounding in its virtuosity and is interpreted to perfection by the two pianists."

Amadeus

"Vittorio Bresciani is establishing his reputation as one of the greatest Liszt specialists in our country. A pupil, among others, of Campanella and Magaloff, he excels in brilliance and virtuosity. While one cannot play Liszt without being a virtuoso, interpretations may vary. Bresciani’s virtuosity on this CD is not exhibitionistic; his robust technique concurs with a serious reading of the score. His use of the pedals to dampen and amplify sound is balanced, free of facile expedients, and in perfect accord with the sense of the music. The booklet of accompanying notes, written by Bresciani himself, is both thorough and interesting."

CD Classica

"The series of Vittorio Bresciani’s recordings continues with a new CD of Liszt’s music. The person and the art of the great Hungarian composer continue to exert an undeniable spell over him. After his experience with the transcriptions of Mozart and Rossini and, above all, the Schubert Lieder, Bresciani has developed a thoroughly mature and convincing interpretation of Liszt; a singing style, beauty of tone, a just feeling for colour and eloquence, and a complete understanding of the original use of the pedal, often ignored by the greatest interpreters. In the left hand, at the beginning of the Ballade we hear, at last, an atmosphere of sinister confusion beneath the notes emphasized by the right hand. The same thing may be said of certain mysterious and demoniacal passages in the Dante Sonata. The pedal is used to great effect at bar 328 of the Konzertsolo, in the Andante quasi marcia funebre, already suggesting and implying the version for two pianos."

American Record Guide

"If Bresciani's decision to enter the arena with a complete account of Liszt's first Schubert collection says much for his intelligence (Liszt published these twelve transcriptions as a set, and in his fascinating liner note the pianist makes a strong case for playing them toghether), the performances acquaint us with a truly excinting techinque and vividal musical imagination. These are virtuoso readings that suggest the transcriber's concert hall rather than the introspective domestic world of the tormented man who wrote the original songs. With phrasing and dynamics that seem projected to an upper gallery of listeners (there is no surplus of quiet playing), the pianist recreates the simple lyricism almost as well as the bluster. But his tone is colorful if rather thin, fireworks or no, and there is plenty of variety in the articulation. There is perhaps more Liszt on offer here than Schubert, and Dynamic's very bright sound picture completes such an image. A delightful, exciting, and intelligently conceived debut recording."

American Record Guide

"Vittorio Bresciani, whose Liszt Schubert Song transcriptions were praised by Arved Ashby, also does very well with the Mozart and Rossini paraphrases on the Dynamic disc. Bresciani plays all this material with musical intelligence, shaping the phrases and blasting the fireworks with assurance."

American Record Guide

"Imaginative and well-equipped, Mr Bresciani is a conscientious pianist whose pedigree includes studies with the estimable Michele Campanella and Nikita Magaloff. He plays with wigour, assurance, and a focussed, even ambrosial tone that segregates contrapuntal activity with taste and discretion. He is a poet at heart."

The Boston Globe
Bresciani displays dash in debut

"There was enough that was impressive in Bresciani's playing to validate the high advance praise he arrived with. Bresciani is an elegant, restrained player, a refreshing change from the usual take-no-prisoners approach to Liszt. His technique was responsive and pliant; his sound was rich; his playing limpid and liquidy. The 'Le nozze' Fantasy is magical. Here, Bresciani's resourceful playing had color, lyricism and dash."

The Philadelphia Inquirer
Pianist Vittorio Bresciani at the Free Library

"Vittorio Bresciani made these fascinating, substantive works a provocative calling card… His recital - devoted entirely to Liszt's paraphrases of Rossini and Mozart - revealed an eagerness to make scholarly connections with pianistic finesse. Nicely apparent were Bresciani's admirably indipendent fingers, his varied touch and affection for nuance. He is capable of brilliant sonorities, as the blistering minor scales showed in the 'Don Giovanni' fantasy. Best of all is the rich sonority he pulled from the piano's middle register - for instance, when the 'Là ci darem la mano' section of the Don Giovanni paraphrase first makes its stunningly simple appearance."

Nice Matin, France
Isola: sur les sommets de la Musique

"Avec son prénom porteur de gloire et avec ses interprétations brillantes del 'Années de pèlerinage' de Liszt, Vittorio Brescianiavait ébloui son auditoire. Une semaine après, lundi soir, les oreilles vibraient encore de sa performance. C'est la marque des grandes artistes de laisser derrière eux des échos qui ne s'eteignent pas."

Nordbayerischer Kurier, Deutschland
Liszt ohne Tücken

"Die Zuhörenden waren verzaubert von den sphärischen Klängen, die Vittorio Bresciani dem Flügel entlockte. Vor einigen Jahren Stipendiat der Richard-Wagner-Stiftung, ist Bresciani dem musikalischen Verhältnis zwischen Liszt und seinem Schwiegersohn Wagner bereits seit längerem auf der Spur. Sein Klavierspiel ist vor einer großen Affinität zu Liszts epischem Musikverständnis geprägt, auf einer technischen Hochebene verbindet er spielerische Fulminanz mit fast rührenden lyrischen Momenten. Der Preissgekrönte Italiener ist mit alle Gaben eines großen Pianisten aussgestattet - eingeschlossen die Fähigkeit, dem Publikum bei aller pianistischen Rafinesse eine träumerische Leichtigkeit vorzuspiegeln: Liszt Klaviermusik, ganz ohne Tücken."

Kieler Nachrichten, Deutschland
Abstrakte Beherrschung

"Beherrscher des Flügels - mit diesem Titel muß man den auf seine Weise wirklich phänomenalen Pianisten Vittorio Bresciani bezeichnen. Beherrscher des Flügels: das meint nicht allein die technische Brillanz, über die jeder Musiker vefügen sollte, sondern vor allem den Stellenwert, den die Beherrschung des Instruments und des musickalischen Materials in Brescianis Interpretation einnimmt."

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