Ohlsson used his pianistic soft power — a commanding technical arsenal deployed with judicious restraint — in the service of Beethoven’s penchant for insistence, pushing the first movement’s boil of trills and passagework to the foreground, making the slow movement’s pleas hushed and voluble by turn.
Washington Post: Beethoven with the Melbourne Orchestra at the Kennedy Center19 Oct 2019
“By the rambunctious finale, ensemble and soloist were on the same quirky page, Ohlsson hammering out accents like a dancer gleefully unconcerned with decorum, sobriety, or anyone else’s toes. It was sharp fun.”