Cristina Ortiz
Piano

“A Lioness of the Piano” (Wprost)

Contacts

Iarlaith Carter +44 (0)20 3725 9162

Biography

Recent highlights have included concerts with the Simón Bolívar Symphony Orchestra, Orquestra Sinfônica do Estado de Sâo Paulo, Hong Kong Philharmonic Orchestra, the Orquesta Sinfónica del Principado de Asturias, and Staatstheater Kassel. Highlights in coming seasons include debuts with the Hungarian National and Qatar Philharmonic orchestras, the Haydn Orchestra Bolzano and Trento, the Presidential and New West Symphony orchestras, as well as recitals at the Southbank Centre as part of the International Piano Series and throughout the UK and France.

Recent highlights have included concerts with the Simón Bolívar Symphony Orchestra, Orquestra Sinfônica do Estado de Sâo Paulo, Hong Kong Philharmonic Orchestra, the Orquesta Sinfónica del Principado de Asturias, and Staatstheater Kassel. Highlights in coming seasons include debuts with the Hungarian National and Qatar Philharmonic orchestras, the Haydn Orchestra Bolzano and Trento, the Presidential and New West Symphony orchestras, as well as recitals at the Southbank Centre as part of the International Piano Series and throughout the UK and France.

Cristina Ortiz’s natural musicality, masterful craftsmanship and timeless commitment to refined playing have ensured her a place among the world’s most respected pianists. Throughout her extensive career she has performed with the Berliner Philharmoniker, Wiener Philharmoniker, and the Chicago Symphony, Philharmonia and Royal Concertgebouw orchestras amongst many others. She has collaborated with conductors such as Neeme Järvi, Mariss Jansons, Kurt Masur, André Previn and David Zinman.

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Contacts

Iarlaith Carter +44 (0)20 3725 9162

Reviews

“She plays with sympathy, clarity and technical expertise” (International Record Review, September 2014)

“Cristina Ortiz surpasses the recordings of her predecessors: her vibrant sensitivity manifests itself through tightly controlled rubato, coordinated with the swellings of emotion in the music. Her rich palette of colours creates a sonorous beauty… invoking the way that Bowen played himself… Cristina Ortiz creates a fragile delicateness and a porcelain preciousness with unsurpassable perfection. A delight for the ears and the heart.” (Michel Fleury, Classica, July 2014)

“Her performance of the 24 Preludes has all the love and freshness of a recent discovery. And, whether in her supple grace and fluency in the gorgeous seventh Prelude or in the sombre magnificence of No.24, you will hear playing quite without the hard edge of the over-seasoned virtuoso but a charm and fluency that create their own moving, poetic ambience. The exquisite Berceuse and the Barcarolle from the Op.30 Suite could hardly be given more insinuatingly, and when you hear Ortiz in the 'Moto perpetuo' from the Suite mignonne you will marvel at such musical empathy, backed by an immaculate dexterity. A more endearing case for Bowen would be hard to imagine.” (Bryce Morrison, Gramophone, July 2014)

“She plays with sympathy, clarity and technical expertise” (International Record Review, September 2014)

“Cristina Ortiz surpasses the recordings of her predecessors: her vibrant sensitivity manifests itself through tightly controlled rubato, coordinated with the swellings of emotion in the music. Her rich palette of colours creates a sonorous beauty… invoking the way that Bowen played himself… Cristina Ortiz creates a fragile delicateness and a porcelain preciousness with unsurpassable perfection. A delight for the ears and the heart.” (Michel Fleury, Classica, July 2014)

“Her performance of the 24 Preludes has all the love and freshness of a recent discovery. And, whether in her supple grace and fluency in the gorgeous seventh Prelude or in the sombre magnificence of No.24, you will hear playing quite without the hard edge of the over-seasoned virtuoso but a charm and fluency that create their own moving, poetic ambience. The exquisite Berceuse and the Barcarolle from the Op.30 Suite could hardly be given more insinuatingly, and when you hear Ortiz in the 'Moto perpetuo' from the Suite mignonne you will marvel at such musical empathy, backed by an immaculate dexterity. A more endearing case for Bowen would be hard to imagine.” (Bryce Morrison, Gramophone, July 2014)

“In the [Saint-Saens] Piano Quintet, the 20-year-old composer gave the pianist (himself) the lion's share of the interesting material, and Ortiz rises splendidly to its challenges." (Tim Homfray, The Strad, November 2013)

“A gripping performance of Saint-Saëns' Piano Quartet, a sparkling account of the early Piano Quintet and a sublime Barcarolle make a superlative disc from the Fine Arts Quartet and Cristina Ortiz. 5 stars.” (Christopher Dingle, BBC Music Magazine, September 2013)

“Cristina Ortiz is tremendous in the concerto-like piano writing of the [Saint-Saëns] quintet in A minor and the ferocious second movement of the B flat major quartet… A fine recording.” (Stephen Pritchard, The Observer, June 2013)

“The Hugo Lambrechts Auditorium was packed to the brim, yet Ortiz, with her charismatic and grandiose personality, made it feel like the most intimate of concerts. She managed to connect with the audience on a personal level... I can honestly say that she gave the most honest performance that I have ever had the pleasure to attend.” (Artslink, February 2012)

"Ortiz is a joy to watch: I know few pianists who project more obvious pleasure in performance, and her animation (though extreme and running to ecstatic, smiling commentaries on how the orchestra is doing) isn't phoney. All her vigour seems to come out of the music (and get given back to it) with what appears to be enormous generosity of soul. And despite the extravagance of gesture she remains a sharply focussed player: keen, alert and with exact articulation." (Michael White, August 2010)

“Ortiz is a spontaneous improviser, an unpredictable lioness of the piano; powerful player but one who hugs or caresses her instrument at will.” (Wprost, February 2010)

“Ortiz in particular is memorably sensitive to Fauré’s subtle and intricate piano writing.” (Gramophone, February 2009)