©Photo: Marco Borggreve

Bertrand Chamayou

Piano

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“Chamayou is a remarkable musician, no question.”
(Tim Ashley, The Guardian)

Bertrand Chamayou has mastered an extensive repertoire displaying striking assurance, imagination, artistic approach and remarkable consistency in his performances. He is a regular performer in venues such as the Théâtre des Champs Elysées, Lincoln Center, the Herkulessaal Munich and London’s Wigmore Hall. He has appeared at major festivals including New York’s Mostly Mozart Festival, the Lucerne Festival, Salzburg Festival, Edinburgh International Festival, Rheingau Musik Festival and Beethovenfest Bonn.

In the 2020/21 season he debuts with National Symphony Orchestra Washington, Royal Stockholm Philharmonic Orchestra conducted by Sakari Oramo and Hallé Orchestra under Elim Chan. Further highlights include his returns to Gothenburg Symphony Orchestra, Orchestre Philharmonique de Radio France and Orchestre National du Capitole de Toulouse amongst others. He will join the Orchestre National de France and Cristian Măcelaru on a tour of China in May 2021.

Bertrand Chamayou has worked with leading orchestras worldwide, amongst them The Cleveland Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, New York Philharmonic, Chicago Symphony Orchestra, Pittsburgh Symphony, Budapest Festival Orchestra and Gewandhaus Orchestra Leipzig. Conductors he has collaborated with include Pierre Boulez, Sir Neville Marriner, Semyon Bychkov, Michel Plasson, Emmanuel Krivine and Andris Nelsons.

The only artist to win France’s prestigious Victoires de la Musique on four occasions, he has an exclusive recording contract with Warner/Erato and was awarded the 2016 ECHO Klassik for his recording of Ravel’s complete works for solo piano. Bertrand Chamayou was born in Toulouse; his musical talent was quickly noted by pianist Jean-François Heisser, who later became his professor at the Paris Conservatoire. He completed his training with Maria Curcio in London.

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“(Chamayou) has the incredible rhythmic poise and big technique that you need for the piece (Bartok’s second piano concerto).”

(Seattle Times, March 2017)

“Chamayou has the right temperament for this music, from thundering climaxes to the most delicate passages along the way.”

(Bachtrack, July 2017)

“Chamayou’s scintillating fingers, immaculate octave and chord playing were not merely brilliant ends in themselves, but rather the means by which Liszt expressed his symphonic thought. His projection was pin.point and incisive, like a laser beam scything through metal plates. … Liszt knew how to grandstand and bring down the house and Chamayou duly obliged.”

(The Straits Times, December 2016)

“But there was also plenty of brilliance, particularly in the dizzying Toccata which – justifiably – brought members of the usually settled Wigmore Hall audience to their feet.”

(Music OMH, October 2015)