Yulianna Avdeeva

“Whether it's in the bold, dramatic shapes that she creates in the first movements of both works, the energy with which she propels the two finales, or the spellbinding beauty of her playing in the central Larghettos, their tracery delicately crystalline and their lyricism airy and unfettered, there seems to be a real spontaneity about Avdeeva's approach. It's as if by performing these works [Chopin's Piano Concertos] on a very different instrument from the usual modern concert grand she's discovering a new range of possibilities, a new palette of keyboard colours.” (Andrew Clements, The Guardian, May 2013)

“Avdeeva approached the work [Bach’s Overture in the French style], with considerable intellectual rigour but at the same time conveyed the rich emotional resonance which seems to emerge so organically from this music…. I was struck once again by the clarity of Avdeeva’s playing and by the extraordinary control in this most technically demanding of scores…. Ms Avdeeva is clearly a pianist to be reckoned with and I hope she will play in London again soon.” (Seen and Heard International, February 2013) 

“An astonishing performance, and throughout the evening Avdeeva conjured a beautiful sound from the piano” (Classical Source, February 2013)

“Yulianna Avdeeva not only has impeccable technique, she “knows” her Chopin, and conveys his music with all intensity and tenderness. She loves the furore, the melancholy and the fragility of his music.” (Der Westen, January 2013)

“The Russian pianist delivered a brilliant performance with an incredibly sensitive touch. The power with which she played the technically demanding passages in an effortless forte seemed astonishing for such a petite artist.” (Westdeutsche Zeitung, January 2013)

“She doesn’t just play the piano, she conquers emotional oceans. But within all the ambiguity of emotion, she remains stylistically assured and is able to penetrate deeper structures in detail. …. Yulianna Avdeeva’s sense of touch and beauty of sound captivated immediately.” (Solinger Morgenpost, January 2013)

“The audience didn’t know what to admire more: the wide ranging colour spectrum of her well-rounded piano sound, the virtuosity and exceptional dynamism of her playing or the poise and expression of her interpretations.” (Solinger Tageblatt, January 2013)

“Wow, she seems to have it all. This was a commanding reading, gloriously rich in tone, voluptuous of phrase, and argued seamlessly. There was plenty of fantasy in it, but it was never self-indulgent. Instead, every element, every half-tint, every ornament and grand oration fit into a well-integrated mosaic.” (Timothy Mangan, The Orange County Register, November 2012)

“There's often a ripe, insinuating air of mystery about Avdeeva's playing, a sense that particular phrases or harmonies imply much more than they're actually saying… Avdeeva brought tender sensuality to the concerto's slow movement, as well as a nimble, light-footed virtuosity to the finale.” (Joshua Kosman, San Francisco Chronicle, November 2012)

"Prokofiev's 2nd Sonata gave this expressive pianist the opportunity to showcase her virtuoso skills but also offer a very personal presentation of this work...Avdeeva emphasised crystal-clear glass phrases but never over-exaggerated...the audience rose to their feet and applauded enthusiastically." (Zürcher Oberländer, June 2012)

"She let the music breathe, balancing the contradictory forces of flexibility and restraint. She made the florid flights seem organic, expressive devices rather than mere decorations, and in the moonstruck reverie of the Larghetto, shaded the line exquisitely, enriching the sighs and whispers with subtle dynamic contrasts and gentle rubato." (Financial Times, January 2011)