Review // The Observer (the Guardian) Fiona Maddocks
“(..)Then, in New Cumnock’s stunning town hall, Saskia Giorgini, the Italian pianist and Salzburg Mozart competition winner, made her (barefoot) Scottisch debut in a thrilling, flawless recital of Haydn, Schubert, Enescu and Liszt.”
Interview // Corriere della Sera, Alessio Tonietti
“Liszt’s Petrarca Sonnets are difficult to bring to life because of their introverted quality, not only a pianist is needed, but a musician, like Saskia Giorgini, who at the Unione Musicale last night made them explicit and brought them to life wonderfully”
Review // Bonner Rundschau Jürgen Bieler
Mit Würde, Ausdruck und Kunstfertigkeit Klassische Philharmonie Bonn – Pianistin Saskia um Zugaben gebeten
„[…Mozart Piano Concerto K453] Attention, perfect timing for the flowing switches between piano and winds, together with coloured playing and fluent finger dexterity, Saskia Giorgini solved the technical and interpretation demands really outstandingly, from the inspired cadenzas to the incredibly precise but graciously dancing arabesques around the winds. This was a top-class Mozart, one can easily understand why she won the first prize in Salzburg. She could only first come off stage after 2 encores.”
Review // Schwaebische Christel Voith
Konzert zeigt Todesahnung mit Schwung. Intoxicating Sunday matinée with pianist Saskia Giorgini
Saskia Giorgini played a varied program in a thrilling piano recital.
The beautiful and charming winner of the 2016 Mozart Competition in Salzburg came on stage with a refined backless glitzing shirt and black trousers, but more impressive was her mature, cultivated playing.
It was fascinating watching her graceful hands play the powerful passages in Beethoven sonata op.53.
An imaginative playing, with poetic restful moments, a happy sputtering but persistent flow in a lively dialogue between both hands.
The Adagio was started quietly and introverted, slowly a melody was born, creating a marvellous entrancement, until the light came out again in the last movement.
The concert started with Mozart’s Fantasy KV 475. With the deepest calm, after sitting down, the pianist deeply sank in a world of grief and death premonitions, where sometimes, with soft passages, a light hint of hope would shine through.
Completely different were the dazzling 6 Preludes (1967) by W. Rihm that stretch from virtuosic studies to octaves and feverish chords sequences, a waltz caricature and an alienated cantilene.
With exciting lightness and liveliness Saskia Giorgini finished with Mikhail Pletnevs piano suite from Tchaikovskys ballet “Sleeping Beauty”. A liberating and virtuoso music making from the Dance of the Pages until the effervescent finale.
Review // Suedkurier Corinna Raupach
Saskia Giorgini spielt mit großem Ausdruck Die italienische Pianistin begeistert im Kiesel mit brillanter Technik und freundlichem Ton
Dunkel steigen erste Töne vom Flügel auf, von weit her antworten verhaltene Seufzer. Noch tiefer klagt der Flügel, noch schmerzlicher seufzt er – bei aller Ruhe liegt eine fast greifbare Spannung über dem Spiel von Saskia Giorgini im Kiesel. Sie löst sich etwas, als die Melodie zu fließen beginnt, erst in der rechten, dann in der linken Hand. Ruhelos pulsieren Sechzehntel-Noten, ehe die Musik in einem lyrischen Thema ganz zu sich findet. (…) Read the whole review here
01/11/2014 // Liszt blog Alexander Buskermolen
With the Müller Lieder Giorgini made a wonderful statement: it was played with a deep emotional understanding for the music, choosing tempi, colors, dynamics accordingly to the movement at hand. Everything was played a 100% clean and accurate. In particular the use of rests, pianissimo and general timing made for a stunning performance. And we sat in silence and just listened how the recital progressed.
The March hongroise was played with great articulation, stability in tempo and full of character [..]
Keeping the tension beautifully, Saskia Giorgini continued her performance, [..] in Die Zelle in Nonnenwerth Giorgini instantly changed her palet of colors, choosing for a dreamy kind of approach. This dreamlike quality of sound didn’t mean the clarity was gone, on the contrary! In the upper part of the register, she made sure the Fazioli 2,87 was working in her advantage. It sang beautifully. The use of the inner cantabile voicing was again wonderful, and progressed into a very well structured climax. The exact same could be said about Les Préludes, again making it obvious that she is made for this music.