Il y a tellement d'émotion dans cette performance. Une profonde empathie. Il y en a dans toutes (ou presque) les apparitions de Fatma, mais Alice et Camille ne sont pas de reste, loin de là.. Trois petites boules d'âme hypersensibles..
Turn off the sound and watch this "clowning"! This is a real circus! Let's talk on a very topical topic: "Equal Rights", equal rights between a man and a woman. Imagine: a male pianist plays this work, in the same hall, with the same orchestra. To attract the attention of the public, this male pianist followed Alice's example and stepped on the stage barefoot. Nature gave him feet of size 12 (46). Dear ...167, what do you write in your comment? And if a pianist - a man enters the stage with a bare back? Alice Sara Ott & Deutsche Grammophon: Money, Money, Money ABBA "...Money, money, money Always sunny In the rich man's world Aha aha"
INDEPENDET Culture > Classical > Reviews Khatia Buniatishvili, Wigmore Hall (*****) / Alice Sara Ott, Royal Festival Hall (**) Michael Church Wednesday 13 February 2013 12:01 Classical performer Alice Sara Ott Khatia Buniatishvili and Alice Sara Ott have more than their youth and keyboard skill in common: they both enjoy the dubious privilege of being their record companies’ pianistic pin-ups. Buniatishvili is a fiery Georgian who made her name with Liszt. ..... German-Japanese Alice Sara Ott made her name with a phenomenal recording of Liszt’s Transcendental Studies. She opened her Southbank recital with Schumann’s seldom-performed Allegro in B minor Opus 8, but her lack-lustre account meant that the case for this Cinderella piece wasn’t made. And what she did - or didn’t do - with Schubert’s Sonata in D major D850 was even more of a let-down, with the mysterious twists and turns of its musical thought scrambled and trivialised. The slow movement should have a Lied-like expressiveness, but here it was coldly detached, and the Scherzo had no fizz. With Mussorgsky’s ‘Pictures at an Exhibition’ she did at least let in some colour, but her basic approach to that work was heavy-handed and mechanical; only in her encore did she reveal a flash of her original Lisztean brilliance. The hall was full - vigorous marketing, plus her trademark bare feet and scarlet ball-dress, had seen to that - but the performance itself was miserably charisma-free.
@@georgescancan7503 Turn off the *sound* for a piece of music? And then judge it based on what is left? What an idiotic thing to do. You should wash out your ears and leave the commenting to those with a brain.
Élégie Ô, doux printemps d'autrefois, vertes saisons, Vous avez fui pour toujours! Je ne vois plus le ciel bleu; Je n'entends plus les chants joyeux des oiseaux!
En emportant mon bonheur, mon bonheur... Ô bien-aimé, tu t'en es allé! Et c'est en vain que revient le printemps!
Oui, sans retour, Avec toi, le gai soleil, Les jours riants sont partis! Comme en mon coeur tout est sombre et glacé! Tout est flétri pour toujours!
I might be two years late, but I just wanted to point out her performances of Ständchen by Schubert, Elgar concerto and les learned des Jacqueline. I think they are all very amazing
Merveilleux trio, je trouve dommage que Camille et Alice Sara se tournaient le dos car elles ont montré à plusieurs reprises qu'elles avaient besoin de se regarder pour communiquer. Elles dégagent toutes les trois quelque chose de fort et je les encourage à pouvoir renouveler cette expérience sur un ou deux autres morceaux.
Je ne trouve pas ça dommage, j'aime voir comment elles se cherchent et se supportent ou se soutiennent mutuellement.. Ce que j'aime chez Camille, c'est ce sentiment qu'elle est dans l'écoute tout autant que dans l'interprétation.. Toujours ce besoin de chercher l'autre du regard, mais aussi de l'oreille. C'est une évidence, par exemple, dans sa participation au quintette avec piano de César Franck, visible ailleurs sur cette antenne, avec entre autres, "son" Julien Leeb..
Three minutes of a trio is about the right amount. Gets you into the mood, but doesn’t drag it out, as so many concerts do, because you pay so much for the ticket they feel obligated to bury you in music. Concerts should last only about a half an hour IMHO.
ANNA SHCHERBAKOVA Ao som de O Doux printemps d'autrefois, de Massenet, A atleta Anna Shcherbakova foi consagrada a campeã, Com a transmissão de Estocolmo, pela televisão Net, Em 2021, em figure skating, patinando para o amanhã. Na temporada 2020-2021, a música pela atleta exigida No programa "free skating" tem sido a Forgiveness, De Panu Aaltio, a trilha sonora da filmagem dirigida Por Dome Karukoskique, no belo território finlandês. No tempo de pandemia, assunto de todos: o perdão, Imprescindível em toda a relação difícil de se manter Uma boa vizinhança, até mesmo dentro do lar, senão Serão arrastados às gemônias nas regiões de mundo De truculências, igual ao inferno daqui que lá irão ter, Sem presença dos que estarão em ambiente fecundo. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ANNA SHCHERBAKOVA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Turn off the sound and watch this "clowning"! This is a real circus! Let's talk on a very topical topic: "Equal Rights", equal rights between a man and a woman. Imagine: a male pianist plays this work, in the same hall, with the same orchestra. To attract the attention of the public, this male pianist followed Alice's example and stepped on the stage barefoot. Nature gave him feet of size 12 (46). Dear ...167, what do you write in your comment? And if a pianist - a man enters the stage with a bare back? Alice Sara Ott & Deutsche Grammophon: Money, Money, Money ABBA "...Money, money, money Always sunny In the rich man's world Aha aha"
INDEPENDET Culture > Classical > Reviews Khatia Buniatishvili, Wigmore Hall (*****) / Alice Sara Ott, Royal Festival Hall (**) Michael Church Wednesday 13 February 2013 12:01 Classical performer Alice Sara Ott Khatia Buniatishvili and Alice Sara Ott have more than their youth and keyboard skill in common: they both enjoy the dubious privilege of being their record companies’ pianistic pin-ups. Buniatishvili is a fiery Georgian who made her name with Liszt. ..... German-Japanese Alice Sara Ott made her name with a phenomenal recording of Liszt’s Transcendental Studies. She opened her Southbank recital with Schumann’s seldom-performed Allegro in B minor Opus 8, but her lack-lustre account meant that the case for this Cinderella piece wasn’t made. And what she did - or didn’t do - with Schubert’s Sonata in D major D850 was even more of a let-down, with the mysterious twists and turns of its musical thought scrambled and trivialised. The slow movement should have a Lied-like expressiveness, but here it was coldly detached, and the Scherzo had no fizz. With Mussorgsky’s ‘Pictures at an Exhibition’ she did at least let in some colour, but her basic approach to that work was heavy-handed and mechanical; only in her encore did she reveal a flash of her original Lisztean brilliance. The hall was full - vigorous marketing, plus her trademark bare feet and scarlet ball-dress, had seen to that - but the performance itself was miserably charisma-free.
Видеоклипы
Siete fantastiche 👏👏👏🌹🌹🌹😘
Ooh what I'd give to be in that room! Magnificent and talented ladies, and beautiful, encore!
The three of them entered into an emotional revelry ,each enhancing the others. Captivating!!
Vous tous qui regardez ces chefs d”Oeuvre Partagez ces merveilleux moments le plus possible .
C est immense !
Wundervolle Musikerinnen und die Sängerin - großartig! So gefühlvoll alle drei aufeinander abgestimmt. Beautyful!!!!!!!!!
Cosa dire. Tre angeli della musica scesi tra noi poveri mortali.
Beautiful soulful collaboration.... thank you all!!
Bravoooooooooooo ❤❤❤
Il y a tellement d'émotion dans cette performance. Une profonde empathie. Il y en a dans toutes (ou presque) les apparitions de Fatma, mais Alice et Camille ne sont pas de reste, loin de là.. Trois petites boules d'âme hypersensibles..
What a wonderful trio! Simply gorgeous.
Turn off the sound and watch this "clowning"! This is a real circus!
Let's talk on a very topical topic: "Equal Rights", equal rights between a man and a woman. Imagine: a male pianist plays this work, in the same hall, with the same orchestra. To attract the attention of the public, this male pianist followed Alice's example and stepped on the stage barefoot. Nature gave him feet of size 12 (46). Dear ...167, what do you write in your comment? And if a pianist - a man enters the stage with a bare back?
Alice Sara Ott & Deutsche Grammophon:
Money, Money, Money
ABBA
"...Money, money, money
Always sunny
In the rich man's world
Aha aha"
INDEPENDET Culture > Classical > Reviews
Khatia Buniatishvili, Wigmore Hall (*****) / Alice Sara Ott, Royal Festival Hall (**)
Michael Church
Wednesday 13 February 2013 12:01
Classical performer Alice Sara Ott
Khatia Buniatishvili and Alice Sara Ott have more than their youth and keyboard skill in common: they both enjoy the dubious privilege of being their record companies’ pianistic pin-ups.
Buniatishvili is a fiery Georgian who made her name with Liszt. .....
German-Japanese Alice Sara Ott made her name with a phenomenal recording of Liszt’s Transcendental Studies. She opened her Southbank recital with Schumann’s seldom-performed Allegro in B minor Opus 8, but her lack-lustre account meant that the case for this Cinderella piece wasn’t made. And what she did - or didn’t do - with Schubert’s Sonata in D major D850 was even more of a let-down, with the mysterious twists and turns of its musical thought scrambled and trivialised. The slow movement should have a Lied-like expressiveness, but here it was coldly detached, and the Scherzo had no fizz. With Mussorgsky’s ‘Pictures at an Exhibition’ she did at least let in some colour, but her basic approach to that work was heavy-handed and mechanical; only in her encore did she reveal a flash of her original Lisztean brilliance. The hall was full - vigorous marketing, plus her trademark bare feet and scarlet ball-dress, had seen to that - but the performance itself was miserably charisma-free.
@@georgescancan7503 Turn off the *sound* for a piece of music? And then judge it based on what is left? What an idiotic thing to do. You should wash out your ears and leave the commenting to those with a brain.
楽器も歌っているようです素晴らしかったです⛳ありがとうございます💗
Thank you very much
What a team
Simply beautiful!!
Almost perfect for me!!
Awesome music selection. Bravo!❤
What a wonderful and competent trio. More please........
Bravo les filles !! magnifique !!:)
Que bello !!!!! Gracias 🙏
What great trio!
Wonderful wonderful
What a voice, cellist and pianist..excellent
Quel magnifique trio!
Superbe artiste 👏👏👏👏🌹💐💐🌹💐💐
Élégie
Ô, doux printemps d'autrefois, vertes saisons,
Vous avez fui pour toujours!
Je ne vois plus le ciel bleu;
Je n'entends plus les chants joyeux des oiseaux!
En emportant mon bonheur, mon bonheur...
Ô bien-aimé, tu t'en es allé!
Et c'est en vain que revient le printemps!
Oui, sans retour,
Avec toi, le gai soleil,
Les jours riants sont partis!
Comme en mon coeur tout est sombre et glacé!
Tout est flétri pour toujours!
Que trio maravilhoso!!!!! Bravo!
Les trois muses de Massenet. Magnifique !
Superbe trio. J'aime beaucoup
Beautifully done!
Great weeping face Trio! Bravo~
Love the ensemble.
The cellist is new to me, but I have no doubt of her excellence since she is partnered with these other incredible artists!
I might be two years late, but I just wanted to point out her performances of Ständchen by Schubert, Elgar concerto and les learned des Jacqueline. I think they are all very amazing
Perfect for me!!!
Beautiful...... Bravi!
Quel trio d'enfer !!!!!!!!!!!!!!!!!!!
An interesting venue. What a shame we don't get this type of recital in the UK.
What a dream ticket SHUKRAN
¡ME FASCINA SU MÚSICA!💕🥂🌹🎊
una belleza
Interpreti eccellenti
3 superbes femmes !!
Attonishing pretty, delicate,
Merveilleux trio, je trouve dommage que Camille et Alice Sara se tournaient le dos car elles ont montré à plusieurs reprises qu'elles avaient besoin de se regarder pour communiquer. Elles dégagent toutes les trois quelque chose de fort et je les encourage à pouvoir renouveler cette expérience sur un ou deux autres morceaux.
Je ne trouve pas ça dommage, j'aime voir comment elles se cherchent et se supportent ou se soutiennent mutuellement.. Ce que j'aime chez Camille, c'est ce sentiment qu'elle est dans l'écoute tout autant que dans l'interprétation.. Toujours ce besoin de chercher l'autre du regard, mais aussi de l'oreille. C'est une évidence, par exemple, dans sa participation au quintette avec piano de César Franck, visible ailleurs sur cette antenne, avec entre autres, "son" Julien Leeb..
Je suis fan ❤
brilliant
❤
Top Top 👏
🖤💙🥺
I feel the artists' feeling the Massenet. Exquisitely touching.
Wapaniale😊
Three minutes of a trio is about the right amount.
Gets you into the mood, but doesn’t drag it out, as so many concerts do, because you pay so much for the ticket they feel obligated to bury you in music.
Concerts should last only about a half an hour IMHO.
ANNA SHCHERBAKOVA
Ao som de O Doux printemps d'autrefois, de Massenet,
A atleta Anna Shcherbakova foi consagrada a campeã,
Com a transmissão de Estocolmo, pela televisão Net,
Em 2021, em figure skating, patinando para o amanhã.
Na temporada 2020-2021, a música pela atleta exigida
No programa "free skating" tem sido a Forgiveness,
De Panu Aaltio, a trilha sonora da filmagem dirigida
Por Dome Karukoskique, no belo território finlandês.
No tempo de pandemia, assunto de todos: o perdão,
Imprescindível em toda a relação difícil de se manter
Uma boa vizinhança, até mesmo dentro do lar, senão
Serão arrastados às gemônias nas regiões de mundo
De truculências, igual ao inferno daqui que lá irão ter,
Sem presença dos que estarão em ambiente fecundo. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ANNA SHCHERBAKOVA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
🙋🇦🇹👌👌👌💯👏👏👏♥️♥️♥️
💐😅
Turn off the sound and watch this "clowning"! This is a real circus!
Let's talk on a very topical topic: "Equal Rights", equal rights between a man and a woman. Imagine: a male pianist plays this work, in the same hall, with the same orchestra. To attract the attention of the public, this male pianist followed Alice's example and stepped on the stage barefoot. Nature gave him feet of size 12 (46). Dear ...167, what do you write in your comment? And if a pianist - a man enters the stage with a bare back?
Alice Sara Ott & Deutsche Grammophon:
Money, Money, Money
ABBA
"...Money, money, money
Always sunny
In the rich man's world
Aha aha"
INDEPENDET Culture > Classical > Reviews
Khatia Buniatishvili, Wigmore Hall (*****) / Alice Sara Ott, Royal Festival Hall (**)
Michael Church
Wednesday 13 February 2013 12:01
Classical performer Alice Sara Ott
Khatia Buniatishvili and Alice Sara Ott have more than their youth and keyboard skill in common: they both enjoy the dubious privilege of being their record companies’ pianistic pin-ups.
Buniatishvili is a fiery Georgian who made her name with Liszt. .....
German-Japanese Alice Sara Ott made her name with a phenomenal recording of Liszt’s Transcendental Studies. She opened her Southbank recital with Schumann’s seldom-performed Allegro in B minor Opus 8, but her lack-lustre account meant that the case for this Cinderella piece wasn’t made. And what she did - or didn’t do - with Schubert’s Sonata in D major D850 was even more of a let-down, with the mysterious twists and turns of its musical thought scrambled and trivialised. The slow movement should have a Lied-like expressiveness, but here it was coldly detached, and the Scherzo had no fizz. With Mussorgsky’s ‘Pictures at an Exhibition’ she did at least let in some colour, but her basic approach to that work was heavy-handed and mechanical; only in her encore did she reveal a flash of her original Lisztean brilliance. The hall was full - vigorous marketing, plus her trademark bare feet and scarlet ball-dress, had seen to that - but the performance itself was miserably charisma-free.
Damn, you are high
What are you on 💀