Reviews

««Overwhelming expressiveness» was attributed to Irina Georgieva in the concert programme. The Bulgarian piano virtuoso did not disappoint as she interpreted Alban Berg’s Piano Sonata Op. 1 with resourceful ingenuity and creativity. The associative, free-floating, seemingly improvised playing of this young performing artist gave complete expression to the stark beauty of Alban Berg’s music.»

«…Ms Georgieva’s performance of Chaconne by S. Gubaidulina was sheer ecstasy. This opus, reminiscent of baroque piano music in spite of its modernity, enabled the pianist to apply her formidable technical skills, which had also been alluded to in the programme booklet, first vigorously digging deep archaic chords into the ivories, before returning to a light and airy interpretation of the impressionistic sequences.»

irina_georgieva_referenzen«The evening continued with the luminosity of Sergei Rachmaninoff’s Variations, presented by the pianist with delightful effervescence and her brilliant mixture of subtle melodiousness and expressive emphasis.»

Rolf de Marchi, Basellandschaftliche Zeitung

«Handel’s sober aria, originally written for harpsichord, blossomed into the exciting abundance of the 25 Variations including a crowning fugue, towering up like in Brahms’ monumental Op. 24. Georgieva, a Bulgarian-born piano performance artist with academic and professional roots in Basel, tackled this tour de force with a clear concept and admirable mastery. On the one hand, she emphasized the breathlessness of the harshly colliding contrasting elements; on the other hand, she expressed the tight hold Handel’s theme exerts on the Variations. This allowed her to adapt perfectly to both to the lyrical moments in the piece as well as the more flamboyant sections of the Variations.»

«A former master student of Rudolf Buchbinder, Georgieva disposes of impressive technical ability, which proved very helpful in the performance of Prokofiev’s Sonata 7 Op. 83, particularly its furious final movement in an irregular metre – a difficult test that, if passed, almost automatically entails the bewildered bafflement of the audience. Confident and determined, Ms Georgieva did not attempt to elude the stirring and lurid moments in this uncompromising three-movement piece. Frenetic applause and an eagerly awarded profusion of flowers gave way to Scriabin’s enigmatic Nocturne op.9, a left-handed gentle caress of the keys, as an encore.»

Klaus Schweizer, Basler Zeitung