| Site review by Polly Nomial February 10, 2007
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Performance: Sonics (MC): |
Our friend, Avanticlassic, has helpfully presented us with the notes that are attached to this fabulous disc.
Where Avanti find their roster of pianists from I do not know but I suspect that many record producers wish that they had Avanti's contacts. Adriel Gomez-Mansur is a true poet of the piano and his playing evokes memories of the greats of the keyboard. All the composers are given magical treatment from the opening Consolation No.3 of Liszt to the concluding Etudes by Scriabin. This Liszt is all too often transformed into mawkish sentimentality but here it is given as tender performance as one can imagine.
For those who have listened to Horowitz, Rachmaninov or other great "golden age" pianists and thought that they would never hear the like again, you must search out the concerts of this pianist. He is no carbon copy machine and clearly just feels the music in a very emotional but tasteful way. The Chopin Mazurka is as dancelike as one could wish and the Schubert Impromptus (sadly the first of the D899 set is not included but this is the only criticism I have of this wonderful disc) is like listening to a song recital. The Schumann glows with tender beauty and Gomez-Mansur is delicate personified in the Traumerei - this is not only an evocation of a dream but the playing that dreams are made of!
Perhaps the most marvellous display of completely self-effacing musicianship and virtuosity comes in the Rachmaninov preludes (Opp.32/4, 10, 12 & Op.23/5). From the fiendish delicacy Op.32/4 to the more extrovert Op.23/5, no difficulties are audible from a technical or musical perspective - one just feels as though you and only you are being sung to by someone deeply in love with the music. The Scriabin is no less fine and makes a fitting and parallel conclusion to the opening of this great disc.
I must warn all budding pianists (and, indeed many seasoned performers) that this disc will make you green with envy at the same time as filling your heart and ears with delight - this cannot be heard too many times!
All this could have been ruined by less than pristine sound but Avanti give us crystal clear sound of a very fine Steinway that flatters (without deception) of the glorious playing that caresses the ear.
I am very eager to hear more from this wonderful talent.
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Copyright © 2007 John Broggio and SA-CD.net
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| Review by Avanticlassic November 25, 2006 (4 of 5 found this review helpful)
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Adriel Gomez-Mansur is as yet unknown to most people. However appearances by this 17 year old prodigy in Lugano (Switzerland) and Beppu (Japan) have already created huge anticipation and excitement around this shy boy.
Discovered and protected by Martha Argerich, this amazing poet of the piano recorded this, his first, recital in May 2006 for avanticlassic. This first project includes works by Schubert, Rachmaninov, Chopin and Liszt.
Adriel Gomez-Mansur will certainly come as a revelation for many listeners as he combines a deeply poetic sensibility with amazing technique.
Born in Buenos Aires, Argentina, in 1989, Adriel began to learn the piano at the age of four. In the following years he became a student of René Tesco, Antonio De Raco, Carmen Scalcione and, currently, Luis Lugo. Nelson Gœrner, Ralph Votapek, Alan Weiss, Andrea Lucchesini, Alexis Golovine, Akiko Ebi, Roberto Urbay and Zenaida Manfugas also give him classes. At the age of seven, Adriel made his first appearances in Argentina's concert halls as well as on television. In 2001 and 2002, he featured in the Martha Argerich Festival in Buenos Aires and, in 2003, the Festival Llao di Bariloche. The same year, he was nominated a 'revelation' in Classical Music category of the Clarín Prize. In 2004, he won a special award from the Argentinean music critics association as well as the first prize at the 7th Concurso Bienal of the Festivales Musicales. In 2005, Martha Argerich invited Adriel to her festival in Lugano and, in 2006, to the Meeting Point in Beppu, Japan.
André Delacroix of Resmusica (www.resmusica.com) is correct when he write of Adriel's concert at the 25th Festival de la Roque at Anthéron: "He plays the Second, Third and Fourth Impromptu of Schubert, Rachmaninoff's Prelude in G sharp minor, and the Etudes no. 1 and no. 12 of Scriabine. His play is characterized by clarity, finesse and emotion. Lines of great purity, a subtle and elegant phrasing and a technically impressive play win over the audience. With his delicacy, generosity and profound respect for the composition, avoiding all affectation, he makes the notes shine and jingle as they softly disappear into the clear night. A great pianist is born."
For his first recording, Adriel has picked some of the pieces he played at that concert. Schubert's three last Impromptus (op. 20), plus four Preludes of Rachmaninoff, two Etudes of Scriabine, two pieces of Liszt and Schumann and one of Chopin: it is a veritable recital of 'encores' that also potentially poses a risk for this young pianist because all great virtuosos have immortalised themselves in this repertoire, and their names remain indelibly associated with this music (one thinks of Rachmaninoff, of course, but also of Paderewski, Horowitz, Rubinstein and so many others). Adriel thus invites comparisons. David against Goliath? It is up to you to judge.
the cover for this album is 'Birthmark' by the Belgian Painter Cris Brodhal.
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| Review by JJ May 28, 2007 (2 of 5 found this review helpful)
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Performance: Sonics (S/MC): / |
Agé de dix sept ans à peine, le jeune pianiste Adriel Gomez-Mansur, que Martha Argerich qualifie de "découverte majeure" est né à Buenos Aires en 1989. A quatre ans, il débute l'étude du piano puis devient l'élève de René Teseo, d'Antonio De Raco, de Carmen Scalcione et de Luis Lugo. De même, la liste des musiciens qui ont aidé à son perfectionnement est longue, avec notamment Nelson Goerner, Alan Weiss ou encore Alexis Golovine. A l'âge de sept ans, Adriel débute sa vie publique dans différentes salles du pays mais également à la télévision. C'est en 2003 que la pianiste argentine, Martha Argerich, le remarque et l'invite à son festival. Puis de nouveau à celui de Lugano trois ans plus tard, en 2006. Vous le voyez, comme le souligne la notice d'accompagnement de l'enregistrement, Adriel Gomez Mansur n'a aucun concours, aucune tournée à son actif. Et c'est là que le tour de force de ce jeune artiste est impressionnant, car dans la pléthore de pianistes de sa génération, les dons qu'affirment l'argentin tout au long de ce récital sont uniques. Avec un sens aigu des nuances dans l'expressivité, un jeu clair au service d'une technique parfaite, une maitrise des phrasés et une poésie à fleur de notes, ce dernier est un phénomène. Pour son premier récital au disque, Adriel Gomez Mansur nous offre des perles, avec Consolation et Prélude sur un thème de Bach de Franz Liszt, la Mazurka Op. 33 N°4 de Chopin, trois Impromptus de Franz Schubert, Novelette Op. 21 N°1 de Schumann, quatre Préludes de Rachmaninov et pour finir, deux études de Scriabine. De par sa maturité précoce, son sens du style et du discours musical, l'évidence des respirations qu'il imprime aux œuvres jouées, Adriel Gomez Mansur est certainement l'un des pianistes les plus doués, sinon le plus doué de sa génération. Une révélation à suivre…
Jean-Jacques Millo
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