Anika Vavic :: Press http://www.anikavavic.com/en/press/rss.html Story list en http://www.anikavavic.com/img/logo.png Anika Vavic :: Press http://www.anikavavic.com/en/press/rss.html A Wealth of Color during two German Premieres Performed by the Staatskapelle Weimar http://www.anikavavic.com/en/press/story/619/a-wealth-of-color-during-two-german-premieres-performed-by-the-staatskapelle-weimar.html The Staatskapelle Weimar gave its concertgoers an ecstatic listening experience, performing works by Shchedrin and Ravel.

The fact that Rodion Shchedrin, less known hereabouts, is forging his own path as a pianist and composer, making use of many stylistic impressions, was demonstrated by his Piano Concerto [No. 4], which the Belgrade-borne pianist Anika Vavic interpreted excellently. The level of authenticity was extraordinarily high, for the artist, who lives in Vienna, studied the sophisticated solo part under the composer’s supervision. Delicate sculptures, in the sense of tension-filled ciphers, open the work, borne aloft by a dense string sound. The prelude-like, occasionally rhapsodic search, during which soloist and orchestra animate and revitalize each other, broadens into a grand movement of the entire resounding body. Anika Vavic mastered the enormous virtuoso challenges of her part, all the way to the sarcastic and seemingly sly cadenza.

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Translation: Alexa Nieschlag

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Tue, 31 Oct 2017 23:51:43 +0100 http://www.anikavavic.com/en/press/story/619/a-wealth-of-color-during-two-german-premieres-performed-by-the-staatskapelle-weimar
„Schtschedrins Klavierkonzert verlangt dem Interpreten alles ab“ http://www.anikavavic.com/en/press/story/624/schtschedrins-klavierkonzert-verlangt-dem-interpreten-alles-ab.html Die Wiener Pianistin Anika Vavic ist Sonntag mit einer deutschen Erstaufführung im Sinfoniekonzert der Staatskapelle zu erleben

Im 3. Sinfoniekonzert der Staatskapelle Weimar stellt Chefdirigent Kirill Karabits am Sonntag, 29., und Montag, 30. Oktober, in der Weimarhalle einen Komponisten vor, dessen Name sich in Deutschland viel zu selten auf den Konzertprogrammen findet: Rodion Schtschedrin. In einer deutschen Erstaufführung erklingt sein 4. Klavierkonzert. Den Solopart interpretiert die aus Belgrad stammende Wiener Pianistin Anika Vavic. Im zweiten Teil folgt Ravels Ballettmusik „Daphnis et Chloé". Wir sprachen mit der Solistin Anika Vavic.

Das 4. Klavierkonzert von Rodion Schtschedrin verlangt vom Solisten stilistische Vielfalt. Inwiefern?

Es ist ein Auftragswerk von Steinway New York. Ich denke, dass der Komponist deshalb eine Ode an das Instrument komponiert hat und versucht hat, die Klangwelten des Instruments und auch die Geschichte der Klavierliteratur in diesem packenden Werk ineinander verschmelzen zu lassen. Der Solist/die Solistin muss sich blind im Chopin-Kreis bewegen können, gleichzeitig Strawinsky herausholen, Prokofjew zitieren, die pastorale Kulisse erschaffen, unterkühlte Landschaften hervorzaubern, „frei erzählen" wie bei Schumann, Kammermusik machen und doch die authentische, ehrliche, vielfältige Sprache von Schtschedrin im Vordergrund behalten. Je öfter ich das Werk spiele, desto spannender wird es für mich. Wie viel Spielraum lässt er dem Solisten bei der Interpretation? Das wunderbare ist, dass man sich absolut frei fühlt, wenn man dieses Werk gestalten will - Schtschedrin ist ein Komponist, der es immer noch schafft, emotionale Musik zu komponieren. Man fühlt sich nicht viel anders als bei Beethoven, Prokofjew oder Ravel - und kann atmen, Stimmungen ändern, Spaß haben. Wobei ich gestehen muss, dass das Werk pianistisch und musikalisch gleichzeitig dem Interpreten alles abverlangt. Aber: man bekommt sehr viel davon zurück - und das ist für mich ein Merkmal wirklich guter Musik. Wie gelingt es Ihnen, sich immer wieder neu auf fremde Orchester einzustellen? Ich versuche hinzuhören, jedes Orchester entwickelt sich im Rahmen der Proben und bis zum Konzert zu einem eigenen Organismus. Dieses sich „auf neue Orchester einstellen" ist wie „Menschen-lesen", und sich auf diverse Charaktere einlassen, sich hineinversetzen. Natürlich spielt es eine große Rolle, wer am Pult steht und dafür sorgt, dass die „Zutaten", also Solist/Orchester zu einer gelungenen Speise verarbeitet werden, an die sich dann das Publikum gerne wagt und sie genießt. Was verbinden Sie mit Weimar? Ich kenne Weimar noch nicht, aber wenn ich an Weimar denke, sind der Kapellmeister Franz Liszt und mein verstorbener Lehrer Lazar Berman, der in Weimar unterrichtet hat, sicherlich die wichtigsten Punkte, die ich mit der Stadt verbinde. Mit diesen zwei Pianisten-Vulkanen im Hinterkopf freue ich mich umso mehr darauf, die deutsche Erstaufführung des vierten Klavierkonzerts von Schtschedrin zusammen mit Kirill Karabits und der Staatskapelle Weimar hier zu spielen.

Wie viel Zeit bleibt Ihnen, um sich in den jeweiligen Gastspielorten umzusehen?

Manchmal ergibt sich aufgrund der Probezeiten eine Lücke, und ich kann die Orte erkunden, manchmal nehme ich mir bewusst Zeit dafür - die schöne Seite des Berufs ist sicherlich diese Möglichkeit, spannende Persönlichkeiten und Städte kennenzulernen.

Wie bringen Sie Familie und die beruflichen Anforderungen unter einen Hut?

Meine Tochter wird in ein paar Monaten vier - und ist der Grund, dass ich die Reisen so knapp wie möglich kalkuliere. Als sie knappe sechs Wochen alt war, war sie bei der ersten Tournee dabei, als ich zu den Münchner Philharmonikern wieder eingeladen war. Die Zeiten, wo ich sie mit dabei haben konnte sind vorbei, denn aus einem Baby ist ein resolutes Persönchen geworden, das selber auf der Bühne sein will, und mir droht, bei meinem Auftritt hinaufzukommen, um mitzuspielen.

Wie erleben Sie als Solistin auf das Bühne das Publikum? Die Antennen sind alle auf Empfang, wenn man auf der Bühne ist und es ist immer wieder eine neue Reise, die man mit einem unbekannten Publikum antritt - man will es mitnehmen, ihm etwas geben und hat gelernt, nach jahrelanger Erfahrung die „Empfangsbestätigung" aus dem Publikum mit Intuition heraus zu deuten. Und wenn man spürt, dass das, was man zu geben versucht hat, auch angekommen ist, war es ein gelungener Abend.

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Sat, 28 Oct 2017 22:32:41 +0100 http://www.anikavavic.com/en/press/story/624/schtschedrins-klavierkonzert-verlangt-dem-interpreten-alles-ab
Triumphant treasure of ideas http://www.anikavavic.com/en/press/story/575/triumphant-treasure-of-ideas.html […] Anika Vavic was the first soloist to open the evening with Shostakovich’s 2nd Piano Concerto, a gift that immediately piques our curiosity to listen with a simply irresistible, complex and capricious imagination.

In the slow/ andante movement Vavic expands and surprises us with a refined meditation of Shostakovich's heavenly tenderness. This leads to the final explosion, the uniquely playful and twisted moods that end in the teasing rhythms of the delicate piano and orchestra.

[ original article ]

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Thu, 2 Feb 2017 23:38:55 +0100 http://www.anikavavic.com/en/press/story/575/triumphant-treasure-of-ideas
The Mariinsky Theatre delighted Belgrade audience http://www.anikavavic.com/en/press/story/573/the-mariinsky-theatre-delighted-belgrade-audience.html […] Played with incredible precision, Shchedrin‘s „Naughty Limericks“ hinted at the lushness of Shostakovich’s 2nd Piano Concerto, masterfully delivered by Anika Vavic, a soloist performing with Mariinsky Theatre Symphony Orchestra. This hugely complex piece demands, from both a pianist and orchestra, a total emotional engagement. Vavic was in a perfect control as if she were dancing on a thin wire stretched between high skyscrapers.

Playing a piece in which the smallest error could sound disastrous, Vavic tenuously extracted only pure sentiment from the piano.

She left the stage to a standing ovation.

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Wed, 1 Feb 2017 22:17:26 +0100 http://www.anikavavic.com/en/press/story/573/the-mariinsky-theatre-delighted-belgrade-audience
Melancholy and Virtuosity http://www.anikavavic.com/en/press/story/572/melancholy-and-virtuosity.html The Symphony Orchestra Vorarlberg presents a Russian focus. Bregenz sz

With a beautiful string sound, diabolic virtuosity and temperament, the Symphony Orchestra Vorarlberg (SOV) presented a concert under the baton of its Chief Conductor Gérard Korsten at the Festspielhaus in Bregenz: Anika Vavic shone in Rachmaninoff’s Rhapsody on a Theme by Paganini, bookmarked by Penderecki and Tchaikovsky’s Symphony No. 4. […]

All Kinds of Finesse

In the last of his 24 Caprices for Solo Violin, Paganini, the Italian “diabolic violinist,” created a work whose whirling variations challenge the entire technical brilliance a violinist can muster. Composers such as Brahms, Lutoslawski and also the Russian pianist and composer Sergei Rachmaninoff used this Caprice as the inspiration of cycles of variations of their own. In Rachmaninoff’s case, it is not just the soloist who is allowed to sparkle with all kinds of finesse, chord sequences, leaps and runs, but the entire orchestra is given a chance to show off the colorful spectrum of its instruments.

Anika Vavic, who studied in Vienna and is deeply familiar with the Russian school and its music, played the 24 variations with great naturalness: at times she made them sound puckish, witty and agile, then again offering poetic melancholy with swinging bell-sounds, followed by wonderfully relaxed virtuosity. The Symphony Orchestra Vorarlberg provided no mere accompaniment, but its instrumental sections were a very present partner. “To celebrate the events of the day” (the presidential election in her adopted homeland Austria) the pianist offered an encore: a delicately pulsating piece by Schubert.

[ original article ]

Translation: Alexa Nieschlag

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Mon, 5 Dec 2016 13:09:35 +0100 http://www.anikavavic.com/en/press/story/572/melancholy-and-virtuosity
A Rose for the Orchestra http://www.anikavavic.com/en/press/story/569/a-rose-for-the-orchestra.html Gérard Korsten, the SOV and a piano virtuoso garnered wild enthusiasm.

FELDKIRCH, BREGENZ. The second subscription concert of the Symphony Orchestra Vorarlberg under Chief Conductor Gérard Korsten on Saturday at the sold-out Montforthaus (with a second date at the Bregenz Festspielhaus on Sunday) – a routine affair, one might think. This time, however, it was the exact opposite. From the first note, it was obvious: conductor and orchestra were not just doing their duty, but were project-oriented and hungry for success. The rose which the fabulous piano virtuoso Anika Vavic plucked from her bouquet at the end and presented to concertmaster Monika Schuhmayer on behalf of the orchestra was more than well-deserved.

Here was a program which gave the orchestra some challenges to cut its teeth on, which it mastered elegantly. It focused on the "Slavic soul", known for its melancholy [...]

Then on to the encounter with a superior pianist-personality - Anika Vavic, originally from Belgrade - and a work such as Rachmaninoff's Rhapsody on a Theme by Paganini, which is not exactly standard repertoire.

She hit the emotional expression of this insanely virtuosic piece of piano music exactly, unfolding stunning pianistic fireworks in her part, which is very independent yet often intricately interwoven with the orchestra's. However, the composer also demands quick reactions and a variety of sound from the orchestra in these 24 variations, until it shines and shimmers in all imaginable orchestral colors. Occasionally, a forest of strings rang forth above piano cascades, larger than life. The fact that Rachmaninoff occasionally uses snatches of the Dies irae theme here is part and parcel of the "Slavic soul" with its frequent longing for death. After this stupendous act of bravura, the acclaimed soloist thanked the audience with a piece from Schubert's German Dances. [...]

[ original article ]

Translation: Alexa Nieschlag

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Mon, 5 Dec 2016 12:41:27 +0100 http://www.anikavavic.com/en/press/story/569/a-rose-for-the-orchestra
Vavic, SCO, Bloch, Queen's Hall, Edinburgh http://www.anikavavic.com/en/press/story/550/vavic-sco-bloch-queens-hall-edinburgh.html […] Serbian pianist Anika Vavic was the rather steely soloist in Shostakovich’s Second Piano Concerto for a performance that was as fiery and intense as that score might suggest. Brittle, too, at times, occasionally hard-edged, especially in an assertive first movement – but enjoyably so.

Despite all the high spirits and fizzing humour, though, there was always an edge of menace to Vavic's vision of the Concerto that never let us forget it utilitarian Soviet origins - even if she gave way nicely to indulgence in a lush slow movement, whose luxurience she matched in the exquisite, restless Scriabin prelude she offered as an encore, seemingly made up on the spot.

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Sun, 17 Apr 2016 15:55:04 +0100 http://www.anikavavic.com/en/press/story/550/vavic-sco-bloch-queens-hall-edinburgh
Classical review: SCO, Queen’s Hall, Edinburgh http://www.anikavavic.com/en/press/story/549/classical-review-sco-queens-hall-edinburgh.html […]He deftly melded the baroque with the avant garde in an incisive reading of Stravinsky’s Concerto in E-flat “Dumbarton Oaks”, subtly swerving around the beat and letting the jazz riffs really swing, and there were pranks and in-jokes aplenty in Shostakovich’s Piano Concerto No 2 with soloist Anika Vavić.

This piece only works if everything is pushed to the limit and her stonking performance had the audience on the edge of their seats. Vavić sprinted from one end of the keyboard to the other in a series of increasingly skittish exercises while the strings scurried and the high-pitched flutes wailed. By contrast Vavić's encore of Scriabin's Fragility and Danse Languid from Op 51 Pieces provided a wistful calmness.

[original article]

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Sat, 16 Apr 2016 15:49:32 +0100 http://www.anikavavic.com/en/press/story/549/classical-review-sco-queens-hall-edinburgh
Bizet Symphony in C, Queen's Hall, Review http://www.anikavavic.com/en/press/story/548/bizet-symphony-in-c-queens-hall-review.html […]The accomplished Serbian pianist, Anika Vavic, was the soloist and in the first movement she gave a thrilling performance, emphasising the lively staccato theme.

The middle movement, by comparison, was mellow, reminding one of Shostakovich's melancholic moods. However, without a break we go straight into the finale which picks up the theme from the first movement. An inspired performance by both Anika Vavic and the musicians. An appreciative audience insisted on an encore in which Vavic sensitively played Scriabin's ‘Dance Languide'

[original article]

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Fri, 15 Apr 2016 15:36:45 +0100 http://www.anikavavic.com/en/press/story/548/bizet-symphony-in-c-queens-hall-review
Merging composers and styles proves a fantastic triumph http://www.anikavavic.com/en/press/story/547/merging-composers-and-styles-proves-a-fantastic-triumph.html [...] Shostakovich's style of composing is emblazoned all over his second piano concerto.

Shrill woodwind, frenzied strings, a martial mood and barrowloads of excitement prevail as does some technically demanding keyboard virtuosity. Pianist Anika Vavic was more than equal to the task, displaying some glittering skills and seemingly never-ending energy.

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Fri, 15 Apr 2016 15:33:59 +0100 http://www.anikavavic.com/en/press/story/547/merging-composers-and-styles-proves-a-fantastic-triumph
Young, Female, Energetic http://www.anikavavic.com/en/press/story/531/young-female-energetic.html Pianist Anika Vavic shines in her collaboration with the RSO and the 29-year-old conductor Mirga Gražinytė-Tyla at the Konzerthaus.

Given that the world of classical music is still male-dominated, the audience had an unusual sight on Friday night at the Konzerthaus: the petite 29-year-old Mirga Gražinytė-Tyla skillfully conducted the ORF Radio Symphony Orchestra, the first and second violins were played by ladies, and with the pianist Anika Vavic, the undisputed star of the evening was also a woman. At the end of the pieces, there were no kisses on the hand, but friendly embraces.

The listeners were particularly enthusiastic about the performance of Alexander Scriabin’s Concerto for Piano and Orchestra in F-sharp Minor. The perfect harmony between piano and orchestra was especially notable in the second movement. Vavic created surging waves of sound complementing the theme played by the strings, and thanked the audience for its accolades with an energetic encore. […]

("Die Presse", Print-Ausgabe, 18.01.2016)

[original article]

Translation: Alexa Nieschlag

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Mon, 18 Jan 2016 13:17:45 +0100 http://www.anikavavic.com/en/press/story/531/young-female-energetic
Success with Scriabin http://www.anikavavic.com/en/press/story/533/success-with-scriabin.html She celebrated a triumph at the RSO Cycle at the Konzerthaus: Anika Vavic, a pianist born in Belgrade and living in Vienna, enthralled her audience with Alexander Scriabin’s Piano Concerto in F-sharp Minor.

Scriabin, a brilliant pianist himself who enjoyed international success with this work, tried to realize his ideas of virtuosity, a specific dramaturgy of sound and a highly idiosyncratic instrumentation – the latter formerly demonized by the critics. Anika Vavic played these svelte cantilenas and attractive-sounding blocks of chords with elegance. For the orchestra, she was a driving partner, poised in the dialogues and intent on an opulent sound.

Karlheinz Roschitz

Translation: Alexa Nieschlag

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Mon, 18 Jan 2016 13:34:26 +0100 http://www.anikavavic.com/en/press/story/533/success-with-scriabin
Energetic Depth of Focus http://www.anikavavic.com/en/press/story/536/energetic-depth-of-focus.html The ORF Radio Symphony Orchestra Vienna under Conductor Mirga Grazinyte-Tyla

Vienna. What is more interesting – the works, or the interpreter’s approach? What should be more important when mediocre works are played gorgeously? The program of the RSO Vienna was one to inspire such questions: thus, Mieczyslav Weinberg’s Suite No. 4 (from the ballet The Golden Key) offers a round of characteristic scenes, brilliantly fabricated, but of limited originality in its ideas: the grotesque tone, ironic neo-classicism, elegiac melodiousness – all that, Weinberg had mastered. However, he usually stuck to predictable patterns.

In the case of the young Alexander Scriabin’s Piano Concerto, things are the other way round: although he also hews closely to classical-romantic forms, the three movements abound with inspired ideas. The orchestration, however, remains somewhat flat at times. Soloist Anika Vavic, on the other hand, came to her part with verve and gave it a clearly-contoured presence, not superficially brilliant, but full of energy and a full, creamy tone, which also pervaded her encore – Fragilité from Scriabin’s Four Pieces Op. 51. […]

(Daniel Ender, 17.1.2016)

[original article]

Translation: Alexa Nieschlag

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Mon, 18 Jan 2016 14:31:04 +0100 http://www.anikavavic.com/en/press/story/536/energetic-depth-of-focus
An exhilarating spring - Paavo Järvi conducted The Munich Philharmonics http://www.anikavavic.com/en/press/story/503/an-exhilarating-spring---paavo-jarvi-conducted-the-munich-philharmonics.html [...] But then Alexander Scriabin's piano concerto in F sharp minor was all the more lyrical for it, particularly under Anika Vavic's nimble fingers.

The pianist made Scriabin's fascinatingly colourful music shine in all its hues. She dreamily retraces all those fine passages and themes in the first movement, whilst energetically and like on an emotional high retracing the dotted motive of the finale. But the stealthy climax is actually the graceful second movement: In four variations the song-like theme, which Scriabin had allegedly already written at the age of eleven, is sometimes modified with tenderness and other times it is deep and sinister; a fantastic piece that seems to surge from Anika Vavic. She becomes one with the piano and the music. 

[original article]

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Fri, 14 Mar 2014 12:22:22 +0100 http://www.anikavavic.com/en/press/story/503/an-exhilarating-spring---paavo-jarvi-conducted-the-munich-philharmonics
An interesting evening - The Munich Philharmonics under Paavo Järvi http://www.anikavavic.com/en/press/story/501/an-interesting-evening---the-munich-philharmonics-under-paavo-jarvi.html [...] In the Philharmonie the pianist Anika Vavic plays it (Alexander Scriabin’s only piano concerto) with immaculate technique, lucid accuracy and a very poetic touch. [original article] ]]> Fri, 14 Mar 2014 10:03:30 +0100 http://www.anikavavic.com/en/press/story/501/an-interesting-evening---the-munich-philharmonics-under-paavo-jarvi Prom 64: LPO/Jurowski – review http://www.anikavavic.com/en/press/story/490/prom-64-lpojurowski--review.html …Prokofiev's Third Piano Concerto was wonderful

...The Prokofiev, however, was striking and very unusual. Pianist Anika Vavic's dexterous but soft-grained playing, wonderfully supple and beautifully nuanced, was the absolute antithesis of the virtuoso aggression we hear in most performances of the work. Jurowski conducted with infinite grace and a nice line in knowing irony.

[original article]

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Sun, 1 Sep 2013 10:16:03 +0100 http://www.anikavavic.com/en/press/story/490/prom-64-lpojurowski--review
"Rostropovich was incredibly strict" - pianist Anika Vavic http://www.anikavavic.com/en/press/story/487/rostropovich-was-incredibly-strict---pianist-anika-vavic.html In this edition of Curtain Up, VoR’s Alice Lagnado and music writer Jessica Duchen talk to Anika Vavic, a Serbian pianist who trained with Russian cellist and conductor Mstislav Rostropovich.

She is making her Proms debut this year with Prokofiev's Piano Concerto No. 3.

Anika said:

"[Rostropovich] was incredibly strict." 

"He told me once, maybe during our second lesson, that nobody was really strict with me and that ‘he is the one.'

"He really had a certain opinion how Prokofiev's and Shostakovich's music is supposed to sound, because he knew both of them so well ... he knew how to motivate me with positive comments and compliments."

Anika even learned Russian from scratch in order to communicate better with Rostropovich and her other Russian piano teachers.

Full Interview: http://ruvr.co.uk/radio_broadcast/77030634/120427548.htm

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Thu, 29 Aug 2013 14:15:16 +0100 http://www.anikavavic.com/en/press/story/487/rostropovich-was-incredibly-strict---pianist-anika-vavic
Russian evening with south wind http://www.anikavavic.com/en/press/story/486/russian-evening-with-south-wind.html You will never regret attending a concert with the Mariinsky Orchestra St. Petersburg under Valery Gergiev. That means concentrated sound power, which gives the music colors and wings, and lets it glow and burn. And if, as on Wednesday, pianist Anika Vavic, a virtuoso with an edge has a finger in the pie, the big CS-evening will turn into an event.

…At the highest level was the Austrian premiere of Rodion Shchedrin's Piano Concerto No. 4. In its adventurous, complicated structures you will clearly find the popular sound-heritage of Russia, as if it were not possible "without". There are, on the other hand, almost surreal, brilliant, sharp instrumental dialogues, such as between strings and winds as well as pounding cadences, but also melancholy moments on the piano. Because this monumental piece is without any flats it is called “sharp keyes” and is only playable by the very best pianists.

The young pianist Vavic, originally from Serbia, has the appropriate skills and temper and release this Shchedrin like a warm south wind under the skin, together with Gergiev's temperament and determination.

Russischer Abend mit Südwind

Ein Konzert mit dem Mariinsky Orchestra St. Petersburg unter Valery Gergiev zu besuchen, wird man nie bereuen. Das ist geballte Klangkraft, die der Musik Farben und Flügel verleiht, sie zum Glühen und Lodern bringt. Und wenn, wie am Mittwoch Pianistin Anika Vavic, eine Virtuosin mit dem gewissen Etwas ihre Finger im Spiel hat, wird aus einem großen CS-Abend ein Ereignis.

Das spannendste dabei war diesmal zu erleben, wie sich zeitgenössische Musik in Russland entwickelt: Ohne mit der gewachsenen charakteristischen Klangkultur der Moderne, eines Strawinsky oder Prokofjew, zu brechen, entsteht hier Neues, das fesselt. Auf höchstem Niveau bewegte sich die österreichische Erstaufführung von Rodion Schtschedrins Klavierkonzert Nr. 4.

Da findet sich in teils abenteuerlich komplizierten Konstruktionen das volkstümliche Klangerbe Russlands so klar und selbstverständlich wieder, als ginge es gar nicht „ohne"; da gibt es andererseits fast surreale, brillante, scharfe instrumentale Dialoge, etwa zwischen Streichern und Bläsern sowie hämmernde Kadenzen, aber auch melancholische Momente am Flügel. Spielbar ist dieses, da ohne b-Vorzeichen, auch „Kreuztonarten" genannte, monumentale Werk nur von einem pianistisch sehr kompletten Künstler.

Die junge, aus Serbien stammende Vavic verfügt über das entsprechende Rüstzeug und Naturell und ließ zusammen mit Gergievs Temperament und Entschlossenheit diesen Schtschedrin wie ein warmer Südwind unter die Haut gehen. Flammender Rahmen: Tschaikowskys „Romeo und Julia" Fantasieouvertüre und Prokofjews „Fünfte". Riesen Jubel nach fast drei Stunden (mit Pause und Zugabe).

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Fri, 2 Aug 2013 13:28:37 +0100 http://www.anikavavic.com/en/press/story/486/russian-evening-with-south-wind
The Russian soul in all its shades http://www.anikavavic.com/en/press/story/483/the-russian-soul-in-all-its-shades.html Carinthischer Sommer 2013: Im Congress Center Villach gaben das Mariinskij-Orchestra St. Petersburg unter ihrem fulminanten Dirigenten Valery Gergiev aln umjubeltes Konzert.

....Anika Vavic was the soloist of the piano concerto by Russian composer Rodion Shchedrin (born 1932), who lives alternately in Moscow and Munich. A slightly lengthy, quite atmospherically dense piece with magical moments, Vavic coped with its virtuosic passages with extreme grip and clean runs with flying colours.

Applause for a top class concert at the Carinthian Summer Festival.

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Fri, 2 Aug 2013 13:06:52 +0100 http://www.anikavavic.com/en/press/story/483/the-russian-soul-in-all-its-shades
Full of Russian earthiness http://www.anikavavic.com/en/press/story/481/full-of-russian-earthiness.html Outstanding concert with pianist Anika Vavic and the Mariinsky Orchestra. Rodion Shchedrin's fourth piano concerto (premiered in 1992), is a work of austere beauty which received its Austrian premiere at the Carinthian Summer. But it is also a work of great atmospheric depth.

Built on a single motif, the Russian composer subtly developed the piece, which is studded with many ostinatos and partly reminiscent of minimal music.

…In the Congress Center Villach Anika Vavic mastered the long, soloistic phrases and extreme complex passages with assured confidence, played with deep expression, and was cheered quite rightly. The Mariinsky Orchestra of St. Petersburg and its principal conductor Valery Gergiev put a finely woven carpet of sound at the feet of Vienna- based Vavic.

Voll russischer Urwüchsigkeit

Umjubeltes Konzert mit der Pianistin Anika Vavič und dem Mariinsky Orchester. Es ist Werk von herber Schönheit, dieses vierte Klavierkonzert von Rodion Schtschedrin (UA 1992), das jetzt seine österreichische Erstaufführung beim Carinthischen Sommer erlebte.

Aber es ist auch ein Werk von großer atmosphärischer Tiefe. Aus einer einzigen Motivzelle heraus hat der russische Komponist das mit vielen Ostinati gespickte und teils an Minimalmusic erinnernde Stück raffiniert kreiert.

Anika Vavič bewältigte im Congress Center Villach die langen, solistischen Phasen und die extrem diffizilen Passagen mit bravouröser Sicherheit, musizierte mit tiefem Ausdruck und wurde zur Recht bejubelt. Das Mariinky Orchester St. Petersburg unter seinem Chefdirigenten Valery Gergiev legte der Wahlwienerin dabei einen fein gesponnenen Klangteppich zu Füßen.

Die russischen Musiker erwiesen sich einmal mehr als Meister des Zusammenspiels. Wie da aufeinander gehört und welche Homogenität dadurch erzeugt wurde, war schlichtweg einzigartig. Dies und ein insgesamt satter, wohlgerundeter und farbenreicher Klang faszinierte den ganzen Abend, so auch gleich zu Beginn bei Peter Iljitsch Tschaikowskys "Romeo und Julia", der süffigen Fantasieouvertüre, die Gergiev mit seinem eigenwilligen Dirigierstil sehr breit nahm und deren Lyrismen er voll auskostete.

Dann erklang bei diesem rein russischen Programm als Höhepunkt Sergej Prokofjews 5. Symphonie, entstanden im Kriegsjahr 1944. Die kraftvolle, reliefartige Melodik, die eigenwillige Harmonik, die russische, melodiöse Urwüchsigkeit wurden mitreißend mit häufigen Farbenwechseln und rhythmischer Präzision präsentiert.

Für den großer Jubel bedankte man sich mit dem herrlichen "Pas de deux" aus Tschaikowskys Ballett "Nussknacker".

[original article]

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Fri, 2 Aug 2013 10:09:04 +0100 http://www.anikavavic.com/en/press/story/481/full-of-russian-earthiness