Teo Gheorghiu

"The young Teo Gheorghiu at the piano is a strong companion. This is one of the finest chamber music CDs of recent times!" (Der Westen, March 2013)

“Not yet 21, the Swiss-Canadian pianist Teo Gheorghiu brings youthful fire to Dvorák’s sublime Piano Quintet Op.81 with the Carmina Quartet … Gheorghiu and his fellow Swiss players display considerable charm and zest, particularly in the scherzo and finale.” (Stephen Pritchard, The Observer, March 2013)

“[An] altogether exhilarating performance.” (Martin Buzacott, Limelight Magazine, March 2013)

“The 1887 Piano Quintet was Dvořák's second attempt at the form. It's most notable for its incorporation of folk themes, particularly the second movement "Dumka", which furnishes pianist Teo Gheorghiu his greatest opportunity, his delicately expressive approach eschewing grand gestures but ensuring that the haunting melody remains suitably foregrounded.” (The Independent, December 2012)

“Gheorghiu is a cerebral musician who brought out Baroque qualities in the figuration of this work that most pianists minimize in favor of its more outward romanticism. Gheorghiu's shaping of musical elements was carefully controlled over long arcing segments of the score and as one became accustomed to his conception of the piece it became increasingly convincing.” (The Hartford Courant, April 2012)

“He simply had everything: leaps, runs, repititions, dynamic contrasts, lines of expression – nothing was ignored in his thrilling playing. Teo Gheorghiu is a huge talent. And as recipient of the Beethoven-Ring he is a worthy representative of the series that started with names like Gustavo Dudamel, Julia Fischer and Lisa Batiashvili.” (General-Anzeiger Bonn, February 2010)

"His touch on the keyboard is of blinding clarity. His differentiation of acoustic perspectives is astounding. His playing is regular and brilliant.” (Tribune de Geneve, January 2009)

“His playing searches...for the secrets of the opus, and tries to fathom the composers’ notes of formulated passions. His touch is technically perfect and full of colour and expression....his fingers seem to talk as they dance on the keys with fire and power. His virtuosity is far from being superficial, bringing the 16-year-old's own life experiences into the symphonic dialogue....Teo interprets this gracious intermezzo of intimate reminiscences with elegant gestures, lightness and detachment. In the lyrical encores Teo shows yet further proof of his already wonderful maturity”. (Potsdamer Neueste Nachrichten, December 2008)