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Press

Recital at the Rockport Chamber Music Festival

[Ohlsson's] exquisite dynamic control, beautiful variety of tone, and bel canto “singing” of the melody combined to form a treasurable rendering of this lovely piece

“The well-deserved standing ovation elicited one encore, Chopin’s Nocturne in E-flat Major, Op. 9 No. 2, another much-beloved staple of recitals. Once again, when Ohlsson chose to speak simply and affectingly to the heart, the results made the deepest impression: his exquisite dynamic control, beautiful variety of tone, and bel canto “singing” of the melody combined to form a…

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Recital at the Krakow Philharmonic

...wspaniałe zróżnicowanie barw dźwięku, płynne zmiany nastrojów przy jednoczesnej klarowności wywodu – nic do dodania.

“Jako zrównoważenie dla jednej z ostatnich sonat Beethovena ze środkowego okresu (ostatniej według niektórych badaczy – niekoniecznie: e-moll op. 90 jest za mało medytacyjna i zbyt witalna jak na późne sonaty) Ohlsson wybrał fantazję Wanderer Schuberta. Bardzo dobry wybór – ten utwór doskonale da się połączyć zarówno z innymi dużymi formami klasycznymi, romantycznymi,…

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Ohlsson and an Easter for the Senses

After the last note and harmonics faded, the audience waited breathless, appreciative moments, allowing emotions to linger but then roared with a unison of approbation.

“Bach composed the WTC Book II (preludes and fugues in every major and minor key) two decades or so after the first. It possesses mature nuance, well-delivered by Ohlsson. The prelude of BWV 882 in F-sharp Major confers a precise and delicate mood, with two main, lightly articulated themes and several portions, hinting of French style. I felt the pianist’s interpretation reverential and…

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Mozart with the Cleveland Orchestra

Ohlsson’s phrasing in the opening Allegro was in keeping with the relatively understated nature of the piece — subtle, songful, and lithe.

“Ohlsson’s phrasing in the opening Allegro was in keeping with the relatively understated nature of the piece — subtle, songful, and lithe. He delighted in some puckish grace notes but left tempos, dynamics, and cadenzas just as Mozart wrote them. In the Larghetto he added some light rubato for sex appeal.” Cleveland Classical

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