Machiel Swillens, Luister
What a marvellous CD! Giorgini makes her Bösendorfer pray, cry and sing. With an incredible feeling for structure she stretches big arches from one piece to the other, she understands the art of making the sounds become liquid and let the magic float weightlessly around the room. (…)
On a splendid Bösendorfer, Saskia Giorgini delivers a realization of Harmonies Poétiques et Religieuses in which her constantly inspired playing is carried by an emotional fervour.
The rich sound of the Dutch-Italian pianist, winner of the Salzburg Mozart Competition in 2016, contributes to the understanding of this unfairly neglected opus.
The suave Ave Maria and the lamenting Andante Lagrimoso strike here with their magnificent interiority, whose climate makes one think irresistibly of Fauré.
The Hymne de l’enfant à son reveil sings with a penetrating sweetness, the Pensée des morts, more prophetic and hallucinated than ever, takes us to a frightening dimension. Funérailles never crush us under their weight but sing with infinite poetry, the Cantique d’amour sounds ideally glorious. The spiritual peak is reached with Bénédiction de Dieu dans la solitude. How Saskia Giorgini plays it with truly divine intimacy! A simple and sensitive vision of this essential masterpiece of the Lisztian piano was missing. We have it today.
Franck Mallet, Musikzen.fr
“Saskia Giorgini en totale osmose avec l’esprit Lamartinien de la partition”
Aart van der Wal, Opus Klassiek
As a matter of fact, her Liszt is simply stunning. Unfortunately, this beautiful music does not always sound this radiant, this expressive and so richly varied. Giorgini’s lyrical signature is just as impressive (perhaps overwhelming is a better word) as the technical allure of her playing. Exuberance and stillness, virtuoso rhetoric and deeply felt contemplation: Giorgini apparently does not hesitate in this enchanting and catchy recital in which magic is highly regarded. And these are truly colossal pieces, both in terms of pianistics and content, with the absolute ‘outliers’ being III Bénédiction de Dieu dans la solitude, IV Pensée des morts and VII Funérailles. The Bösendorfer 280VC (why do we hear so little of the instruments of this famous piano builder?) is beautifully captured. No less than 85 minutes of pure beauty on one CD. Unbelievable.
Dana Cristescu, Hotnews.ro
The moment of maximum delight, not a shock, is still the winner of the Mozart Competition, Salzburg, 2016, with the interpretation of Fantasy for piano and orchestra by George Enescu, given to us by Saskia Giorgini. An exceptional pianist.
(…) pianist Saskia Giorgini competed on the solo part, integrating harmoniously into the fabric of the symphonic ensemble. To the roars of prolonged applause, the artist responded with an emotional supplement, the lied by Rachmaninov In the Silence of the Mysterious Night, in the inspired transcription of the soloist.
“Italienischer Flair” – Helmut Christian Mayer
“Es zählt zur erfreulichen Programmatik des Lisztfestivals, neben arrivierten Pianisten auch immer jüngere Talente nach Raiding einzuladen. Und so gab es auch diesmal wieder eine beeindruckende Begegnung mit einer Debütantin: die junge Italienerin Saskia Giorgini, Gewinnerin zahlreicher Preise und international bereits durchgestartet, musizierte ein auf ihr Herkunftsland fokussiertes Programm von Franz Liszt.
Da erklangen neben den “Sonetti del Petrarca” und der “Rigoletto-Paraphrase” und dem Finale aus “Aida” auch “Venezia e Napoli” aus den “Années de Pèlerinage” sowie die populäre Symphonische Dichtung “Les Préludes” in der Version für Soloklavier. Giorgini faszinierte dabei den gesamten Abend mit kraftvollen, sicheren Anschlägen und perlenden Läufen, aber auch feiner Sensibilität, meisterte alle diffizilen Vertracktheiten mit höchster Virtuosität souverän und wurde vom Publikum zu Recht bejubelt”
“Klavierladies” – Viktoria Kery-Erdély
(…) 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.
Funambola sui tasti. La brava pianista si riconosce dal gesto
Giorgini fa vivere i “Sonetti” di Liszt
“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”
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.”
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.
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. (…)”
“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.”