Tamara Stefanovich
Piano

“The colossal energy of Stefanovich’s performance was hugely impressive” (The Telegraph)

Contacts

Karin Schwarz-Feyhl +49 (0)89 6797 10432
Stephanie Haller +49 (0)89 6797 10434

Biography

Highlights of the 2016/17 season include Tamara's return to the Philharmonia Orchestra with Esa-Pekka Salonen, performances of Szymanowski’s Symphonie concertante on tour with the National Youth Orchestra Great Britain and the presentation of Quasi una fantasia and the Double concerto with the Ensemble Asko|Schönberg and Reinbert de Leeuw at Amsterdam’s Muziekgebouw as part of ECM’S complete recording of Kurtág’s works. She will give recitals at International Piano Series London, Musikfest Berlin, Milano Musica, Vienna’s Konzerthaus and Antwerp’s De Singel performing Stockhausen’s Mantra with Pierre-Laurent Aimard.

Highlights of the 2016/17 season include Tamara's return to the Philharmonia Orchestra with Esa-Pekka Salonen, performances of Szymanowski’s Symphonie concertante on tour with the National Youth Orchestra Great Britain and the presentation of Quasi una fantasia and the Double concerto with the Ensemble Asko|Schönberg and Reinbert de Leeuw at Amsterdam’s Muziekgebouw as part of ECM’S complete recording of Kurtág’s works. She will give recitals at International Piano Series London, Musikfest Berlin, Milano Musica, Vienna’s Konzerthaus and Antwerp’s De Singel performing Stockhausen’s Mantra with Pierre-Laurent Aimard.

Tamara is cofounder and curator of the newly created festival 'The Clearing' at Portland International Piano Series that will see her perform in recitals and work with young pianists and composers. Her appearance at the festival will be surrounded by recitals in Ithaca and Bellingham.

Recent engagements have included Tamara’s debut with the Sarasota Orchestra and performances with the Symphonieorchester des Bayerischen Rundfunks, MDR Symphonieorchester Leipzig, WDR Symphonieorchester Köln, Chamber Orchestra of Europe and Iceland Symphony Orchestra as well as an extensive US recital tour marking the 90th birthday of Pierre Boulez garnering exultant reviews such as that of The New York Times: “Ms. Stefanovich’s performance of Boulez’ second piano sonata was staggeringly brilliant”.

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Contacts

Karin Schwarz-Feyhl +49 (0)89 6797 10432
Stephanie Haller +49 (0)89 6797 10434

Reviews

“A dazzlingly clear performance” (The Guardian, March 2015)

“Ms. Stefanovich’s performance was staggeringly brilliant” (New York Times, March 2015)

“Ligeti’s Etudes are now central to the modernist piano repertoire, but are rarely performed with the agility or grace we heard here… The sheer playfulness of these pieces was beautifully expressed… (Stefanovich) delivered a stunning, bravura performance. A spectacular conclusion to an impressive recital.” (The Arts Desk, December 2014)

“A dazzlingly clear performance” (The Guardian, March 2015)

“Ms. Stefanovich’s performance was staggeringly brilliant” (New York Times, March 2015)

“Ligeti’s Etudes are now central to the modernist piano repertoire, but are rarely performed with the agility or grace we heard here… The sheer playfulness of these pieces was beautifully expressed… (Stefanovich) delivered a stunning, bravura performance. A spectacular conclusion to an impressive recital.” (The Arts Desk, December 2014)

“Tamara Stefanovich... performed the freshest piano concert yet presented by Portland Piano International… Stefanovich proved a savvy musical chef, pairing Messiaen with late Franz Liszt on the first half of Monday’s concert and Sergei Rachmaninov with Ligeti on the second half… no sleepy eyes this night. As Stefanovich used one hand to turn the page from Messiaen into Liszt and Rachmaninov into Ligeti, and the other hand to sustain the last chord into the beginning of the next, the audience’s energy and curiosity perceptibly heightened. Under the hands of Stefanovich, these composers highlighted characteristics in each other that otherwise wash out in the static of their own voice... Stefanovich not only lived up to her nickname as the “dexterous wizard,” but through her masterclass at Portland Piano Company on Saturday and her brief explanations on stage, she demonstrated a disarming ability to inspire students and listeners to explore new musical spaces.” (Oregon Arts Watch, October 2014)

“Tamara Stefanovich performed one of the most intriguing piano concerts that I’ve ever heard on Monday evening at Lincoln Hall… All of the pieces were played brilliantly by Stefanovich, but the exchange of etudes left the biggest impression of the evening. Stefanovich’s pairing of six Ligeti études with six by Rachmaninoff worked superbly. In fact, each seemed to expand the sonic landscape of the other… Stefanovich created colorful sonic landscapes with the Rachmaninov, controlling the dynamics and playing with verve…. The audience went wild after the Stefanovich concluded the final Ligeti étude. She is a tremendous talent, and hopefully we will see her again soon in Portland.” (Northwest Reverb, October 2014)

“Hectic nimbleness” (Northwest Reverb, October 2014)

“[Tamara Stefanovich] once again proved her unmistakeable standing as one of the leading pianists of current times.” (NMZ, March 2014)

“Ligeti's colourful, five-part Piano Concerto, played with admirable gusto and precision by the Yugoslav-German pianist Tamara Stefanovich… Stefanovich, Asko|Schönberg and conductor Reinbert de Leeuw gave wings to this demanding concerto, sustaining its tension from beginning to end.” (Bachtrack, November 2013)

“This dextrous wizard [Tamara Stefanovich] made light of Boulez's hardly playable Second Sonata, barely glancing at the score and pounding and caressing the piano fearlessly in a work which cast to the four winds all previous notions of sonata form. Stefanovich has an ability to find identity and meaning in each note, rolling it around and exploring its purpose, often at frenetic speed, as Boulez intended. She summed up the freshness of her approach when presented with her bouquet at the end. Not only did she walk off stage examining the flowers, she smelled them too, as if savouring every petal.” (The Guardian, October 2013) 

“Tamara Stefanovich did a spellbinding job of Boulez’s infamously tough Second Piano Sonata on Sunday afternoon at Southbank Centre, starting it almost before she was fully seated at the piano, dispatching every technical impossibility with breezy calm, turning the pages of that behemoth of a score with a nonchalant flick… it was the opening number – Ligeti’s musica ricercata – which was most memorably performed… it is a piece of grace and wit, and Stefanovich was its equal: her take was soft and melodic, rather than neo-modernistic, as demanded by most of the music to come.” (Bachtrack, October 2013)

“Very few pianists are up to the breakneck challenges of Boulez’s 'Sonata No. 2', but this young Yugoslav [Tamara Stefanovich] was not only equal to them but even turned her own pages, conveying in full measure both the explosive fury and the serene lyricism of this still-astonishing work.” (The Independent, October 2013)