As The Washington Post lauded, Venezuelan-American pianist Vanessa Perez "is not to be taken lightly.” Praised for her bold, passionate performing style allied with musicianship of keen sensitivity, she made her Carnegie Hall debut in 2004. But her first performance in New York wasn’t in an uptown classical concert hall – it was at the downtown jazz shrine of the Blue Note, where Latin jazz star Arturo Sandoval invited her to perform his “Sureña,” a piece laced with Venezuelan folk melodies. This special ability to move with ease through the classical, folk, and popular music worlds has become her hallmark, and Ms. Perez continues to broaden the definition of the classical pianist.
Her most recent venture is the “Americas” program, created by Ms. Perez and her husband and creative partner Stephen Buck, which premiered at the Four Arts Society in Palm Beach in March 2021. Headlined by iconic actor Bill Murray, and featuring violinist Philippe Quint, and ondist Suzanne Farrin, the program is inspired by the richness, diversity, and political history of the American continents, and the common human themes that knit them together. It includes fascinating juxtapositions like Aztec poetry with Messiaen; Simón Bolívar’s last letter with Beethoven; Don Quixote with Antonio Soler; and Jose Marti’s verses with the contagious Cuban hymn Guantanamera, sung in Spanish by Mr. Murray.
Another first in Perez’ unique career in music was being featured in the concert documentary “New Worlds: Cradle of Civilization”, created by cellist Jan Vogler and led by Bill Murray. The ensemble toured the world from 2017-19, including stops at most of the world’s most prestigious concert venues, including Carnegie Hall, Royal Festival Hall, Sydney Opera House, Elbphilharmonie, and more. Director Andrew Muscato filmed their performance at the Acropolis in Athens, Greece, and this unprecedented feature was officially selected by the 2021 Cannes Film Festival. A live encore performance by the quartet followed the premiere, which received a wild standing ovation. The concert featured a blend of poetry, literature, popular song and classical music by very diverse artists like Whitman, Gershwin, Shostakovich, Lucille Clifton, and Van Morrison, to name just a few.
In recent years, Perez’s more traditional performance highlights have ranged from concerts with the Orquesta de la Juventud Simón Bolívar under Gustavo Dudamel in Caracas, and under Diego Matheuz in Puerto Rico’s Casals Festival, to the Chopin Festival of Majorca, Spain. She also toured Central America with the Youth Orchestra of the Americas under Carlos Miguel Prieto and Jean Philippe Tremblay. She has played with symphony orchestras in the U.S. from Miami to Minnesota to Vermont and in solo recitals from Manhattan to San Diego. In Europe, as soloist, Perez has performed at the Palau de la Música in Barcelona, the Montpellier Festival in France, Konzerthaus in Berlin, and the Wigmore Hall in London, among others.
As a soloist, Perez’s most recent recording, Spain, was released by the Steinway & Sons label in 2016. On this atmospheric album, the pianist performs music by Manuel de Falla, a Spanish composer with an attraction to French culture, and by Falla's friend and mentor Claude Debussy. Critics were suitably beguiled by Spain, with the review in International Piano declaring: “The Venezuelan pianist Vanessa Perez could hardly have given us a more vivacious view of Spain: castanets click, guitars strum and bodies whirl in the true spirit of Andalusian flamenco.” All Music Guide seconded that view, hailing the album as “strong [and] exciting.”
Perez’s previous recording, released in 2012 by Telarc, was Chopin: The Complete Preludes – an acclaimed milestone in her discography. The Washington Post reviewed the album, marveling: “Perez dove into the Preludes as if discovering them for the first time, flinging them out into the hall with a kind of wild intensity that was often breathtaking, as if she were forcing these delicate hothouse flowers into the fresh air for the first time.”
Perez’s debut solo album, released by VAI in 2005, featured the pianist in Chopin’s four dramatic Ballades, pieces from Isaac Albéniz’s landmark Iberia, and a work by contemporary composer Suzanne Farrin. Reviewing her VAI release, International Piano said: “Perez can hold her head up high in the most distinguished company in Chopin’s Ballades. If anything, her Albéniz is even more impressive – impassioned, rich-toned and seductively coquettish where appropriate.” In addition to her solo albums, Perez has been a featured guest on hit recordings by other high-profile artists. Superstar violinist Joshua Bell invited the pianist to record Astor Piazzolla’s “Oblivion” with him for his At Home with Friends album, released by Sony Classical in 2009. She also teamed with Jan Vogler to duet on Piazzolla’s “Le Grand Tango” and more for his 2008 Sony album, “Tango” and her latest collaboration with actor Bill Murray, cellist Jan Vogler, violinist Mira Wang titled “ New Worlds” was released in 2017 on Decca Gold.
With her recordings and many concerts, Perez has developed a significant international profile, playing some of the most prestigious venues across the U.S., Latin America and Europe. The pianist has performed with conductors such as Gustavo Dudamel, Gustav Meier, James Judd, Ligia Amadio, David Gimenez Carreras, Carlos Izcaray, Diego Matheuz, John Axelrod, and Carlos Miguel Prieto. Also has collaborated with pianist Gabriela Montero, violinist Daniel Hope, singers Isabel Rey and Heather Buck, pianist Ingrid Fliter and the Dali String quartet. Actively involved in performing contemporary music, Perez has collaborated with luminaries like Suzanne Farrin, Paul Moravec, Lowell Liebermann and Paul Desenne. Reviewing Ms. Perez’ performance of Mozart’s D Minor Concerto in Germany with the Lucerne Symphony Orchestra, the Dortmunder Zeitung called her “a virtuosa wild at heart and with a gentle touch,” combining “spontaneous freshness and poetic expression.”
An eclectic performer, Vanessa Perez can be seen in an episode of Amazon’s hit TV series Mozart in the Jungle, performing Messiaen’s "Turangalîla Symphony" for inmates at New York’s Rikers Island prison, alongside actor Gael García Bernal, and ondist Suzanne Farrin. She also played Chopin’s mazurkas with the Limón Dance Company in Manhattan’s Bryant Park and the Joyce Theatre in New York City. Perez has been featured performing on such popular radio stations as WQXR New York, WFMT Chicago, Sirius XM, and WGBH Boston, as well as on National Public Radio’s “All Things Considered,” American Public Media’s “Performance Today,” Minnesota Public Radio, and Texas Public Radio. Together with the “New Worlds Project” she was interviewed on CBS Sunday Morning by Jane Pauley, and performed for the Stephen Colbert show in New York in 2017.
Perez was raised to her pre-teen years in Venezuela, where she began her studies with Luminita Duca. At age 11, she was invited to Caracas, the capital of Venezuela, to make her concert debut performing Grieg’s Piano Concerto with the Orquesta Sinfonica Municipal for a sold-out 2,500-seat auditorium. In the U.S., she studied with noted Claudio Arrau pupils Ena Bronstein and Rosalina Sackstein; at 17, she won a full scholarship to London’s Royal Academy of Music to study with Christopher Elton. She continued her studies with pianists Lazar Berman and Franco Scala in Italy at the renowned Accademia Pianistica Incontri Col Maestro in Imola; she then completed post-graduate studies with Peter Frankl at Yale University and pianist Daniel Epstein in New York City. A dual citizen of the U.S. and Venezuela, Perez currently resides in Manhattan, with her husband, pianist-arranger-composer Stephen Buck, and their children. Their duo performances of Debussy and Falla pieces are also featured on her Spain recording.
Vanessa Perez is a Steinway artist.
Tal como publicó el “Washington Post”, la pianista venezolana-estadounidense Vanessa Pérez "no debe tomarse a la ligera". Elogiada por su audaz y apasionado estilo de interpretación aliado con una musicalidad de profunda sensibilidad, Pérez hizo su debut en “Carnegie Hall” en el 2004, en la ciudad de Nueva York. Pero su debut en Nueva York no fue en una sala de conciertos clásica de las altas esferas de Manhattan, fue en un santuario de jazz llamado “Blue Note”, donde la estrella del jazz latino Arturo Sandoval la invitó a interpretar su obra “Sureña” pieza que mezcló con melodías folclóricas venezolanas logrando un sonido original que condensa a la perfección su temperamento como artista. Esta habilidad, de moverse con facilidad a través del mundo de la música clásica, folk y popular se ha convertido en su sello distintivo, con la que continua desdibujando las fronteras de la definición del pianista clásico.
"Américas", su más reciente proyecto estrenado en el “Four Arts Society” en Palm Beach en marzo de 2021, fue creado por Pérez y su esposo y socio creativo, Stephen Buck. Encabezado por el laureado actor Bill Murray, el violinista Philippe Quint y la ondista Suzanne Farrin, el programa está inspirado en la riqueza, la diversidad y la historia política de las tres Américas y los temas humanos que las unen. Un fascinante viaje de yuxtaposiciones que revela la alquimia de su contextura cultural, como la poesía azteca con Messiaen; La última carta de Simón Bolívar con Beethoven; Don Quijote con Antonio Soler; y los versos de José Martí con el contagioso himno cubano Guantanamera, cantado en español por el Sr. Murray.
Otra novedad que destaca en la carrera musical de Pérez fue su participación en el documental del concierto "New Worlds: Cradle of Civilization", creado por el violonchelista Jan Vogler y dirigido por Bill Murray, dando origen a una gira mundial entre 2017 y 2019, que incluyó presentaciones en las salas de conciertos más prestigiosas del planeta, como Carnegie Hall, el Royal Festival Hall, el Sydney Opera House, el Elbphilharmonie, entre otros más. En el 2008, el director de documentales, Andrew Muscato, filmó su actuación en el Acrópolis de Atenas, Grecia, y esta película sin precedentes fue seleccionada oficialmente para la edición 74 del Festival de Cine de Cannes 2021. Luego del estreno en la prestigiosa cita cinematográfica, que contó con una selecta mezcla de poesía, literatura, canción popular y música clásica de autores muy diversos como Whitman, Gershwin, Shostakovich, Lucille Clifton y Van Morrison, por nombrar solo algunos, se presentaron en vivo con un espectáculo seguido de una ovación de pie y amplia cobertura mediática no acostumbrada para este tipo de presentación.
En los últimos años, las actuaciones más tradicionales de Pérez han sido desde conciertos con la Orquesta juvenil Simón Bolívar bajo la dirección de Gustavo Dudamel en Caracas, y con Diego Matheuz en el Festival Casals de Puerto Rico, hasta el Festival Chopin de Mallorca, España. También realizó una gira por Centroamérica con la Orquesta de las Américas con Carlos Miguel Prieto y Jean Philippe Tremblay. Ha tocado con orquestas sinfónicas en los Estados Unidos, desde Miami hasta Minnesota y Vermont, y en recitales como solista se ha paseado por casi toda la geografía estadounidense. En Europa, como solista, Pérez ha actuado en el Palau de la Música de Barcelona, el Festival de Montpellier en Francia, el Konzerthaus en Berlín, y el Wigmore Hall de Londres, entre muchos otros.
“España”, de 2016 y con el sello Steinway & Sons, es la grabación más reciente de Pérez como solista. En este álbum atmosférico e intimo, la pianista interpreta música de Manuel de Falla, un compositor español seducido por la cultura francesa, y del amigo y mentor de Falla, Claude Debussy. España embelesó a los críticos, y las reseñas especializadas festejaron este lanzamiento. “La pianista venezolana Vanessa Pérez difícilmente podría habernos dado una visión más vivaz de España: castañuelas, rasgueos de guitarras y cuerpos girando en el verdadero espíritu del flamenco andaluz”, publicó “International Piano”, mientras que “All Music Guide” apoyó esa opinión y calificó el álbum como "fuerte [y] emocionante".
“Chopin: The Complete Preludes” precedió a España. El álbum lanzado en el 2012 por Telarc es un aclamado hito en su discografía. “Pérez se sumergió en los preludios como si los estuviera descubriendo, para luego arrojarlos a la sala con una intensidad salvaje que impresiona, como si estuviera forzando estas delicadas flores de invernadero a estar al aire libre por primera vez", fue la elocuente reseña en “The Washington Post”.
El primer álbum como solista de Pérez, lanzado por VAI en 2005, incluyó las cuatro baladas dramáticas de Chopin, piezas de la emblemática Iberia de Isaac Albéniz y una obra de la compositora estadounidense Suzanne Farrin. Este lanzamiento también emocionó a la crítica, logrando ubicar a Pérez en el selectivo espectro de pianistas de primera categoría. “Pérez puede mantener la cabeza en alto con la compañía más distinguida de las baladas de Chopin. En todo caso, su Albéniz es aún más impresionante: apasionado, de tonos ricos y seductoramente coqueto cuando corresponde”, dijo “International Piano”.
Además de sus álbumes como solistas, Pérez se ha destacado como invitada en exitosas grabaciones de otros artistas de alto perfil. El violinista super estrella Joshua Bell invitó a la pianista a grabar con él Oblivion de Astor Piazzolla para su álbum At Home with Friends, lanzado por Sony Classical en 2009. También se asoció con Jan Vogler para hacer un dueto en “Le Grand Tango” de Piazzolla para su álbum Tango, editado por Sony de 2008. Y su más reciente colaboración con el actor Bill Murray, el violonchelista Jan Vogler, la violinista Mira Wang titulada "New Worlds", fue lanzado en el 2017 en Decca Gold.
Con sus lanzamientos, colaboraciones y nutrida muestra de presentaciones en vivo, Pérez ha desarrollado un significativo perfil internacional, solicitada en las salas de conciertos más prestigiosas de los EE. UU., América Latina y Europa. La pianista ha actuado con directores como Gustavo Dudamel, Gustav Meier, James Judd, Ligia Amadio, David Gimenez Carreras, Carlos Izcaray, Diego Matheuz, John Axelrod y Carlos Miguel Prieto. También ha colaborado con la pianista Gabriela Montero, el violinista Daniel Hope, el violinista Philippe Quint, las cantantes Isabel Rey y Heather Buck, la pianista Ingrid Fliter y el cuarteto de cuerdas Dali. Y con compositores como Suzanne Farrin, Paul Moravec, Lowell Liebermann y Paul Desenne, vínculos que demuestran la íntima y activa filiación que tiene con la música contemporánea.
Al revisar la interpretación de la Sra. Pérez del Concierto en Re menor de Mozart en Alemania con la Orquesta Sinfónica de Lucerna, Dortmunder Zeitung la calificó como "una virtuosa de corazón salvaje y con un toque suave", que combina "frescura espontánea y expresión poética".
Como una intérprete ecléctica, Vanessa Pérez aparece en un episodio de la exitosa serie de televisión de Amazon, Mozart in the Jungle, interpretando la "Sinfonía de Turangalîla" de Messiaen para los reclusos de la prisión de Rikers Island de Nueva York, de solista junto al actor Gael García Bernal y la ondista Suzanne Farrin. También tocó las mazurcas de Chopin con la afamada compañia de danza “Limón Dance Company” en Bryant Park de Manhattan y el Joyce Theatre en la ciudad de Nueva York.
Pérez también ha tocado para estaciones de radio tan populares como WQXR New York, WFMT Chicago, Sirius XM y WGBH Boston, así como participado en entrevistas para "All Things Considered" de National Public Radio en Estados Unidos, "Performance Today" de American Public Media, Minnesota Public Radio, y Radio Públic de Texas. Junto con el "New Worlds Project", Jane Pauley la entrevistó en CBS Sunday Morning y actuó en el Late Night show de Stephen Colbert en 2017.
Pérez se crió hasta su preadolescencia en Venezuela, donde comenzó sus estudios con Luminita Duca. A los 11 años fue invitada a Caracas para hacer su debut en concierto interpretando el Concierto para piano de Grieg con la Orquesta Sinfonica Municipal para un publico de 2.500 personas junto al director Carlos Riazuelo. En los Estados Unidos estudió con los destacados alumnos de Claudio Arrau Ena Bronstein y Rosalina Sackstein. A los 17 años ganó una beca completa para la Royal Academy of Music de Londres para estudiar con Christopher Elton. Continuó sus estudios con los pianistas Lazar Berman y Franco Scala en Italia en la reconocida Accademia Pianistica Incontri Col Maestro di Imola. Luego completó estudios de posgrado con Peter Frankl en la Universidad de Yale y el pianista Daniel Epstein en la ciudad de Nueva York. Pérez, ciudadana de Estados Unidos y Venezuela, reside actualmente en Manhattan, con su esposo, el pianista, arreglista y compositor Stephen Buck, y sus hijos. Sus actuaciones en dúo de obras de Debussy y Falla también se incluyen en su grabación de “España”.
Vanessa Perez es artista Steinway.
Evening of music and cinema: Bill Murray "Festival de Cannes"
Bill Murray on his New Doc 'New Worlds: The Cradle of Civilization'
Bill Murray talks singing in the shower "Performance today"
Flaunt Cover Story "Performance today"
NPR June, 2012 with Fred Child feature on "Performance today"
NPR May 2012 with Guy Raz featured on "All Things Considered"
An imprint of Steinway & Sons, the Steinway & Sons music label was introduced to bring the music of some of the world's most talented emerging and established pianists to new audiences. Since its founding in 2010, music produced by the Steinway & Sons music label has consistently garnered widespread critical acclaim. Recordings on the Steinway & Sons record label can be purchased through ArkivMusic.com as well as Amazon, iTunes and other fine retailers around the globe.
This album is titled Spain—a rather broad description, considering only one of the two composers
here is Spanish. The program intersperses Debussy’s three Iberian-flavored piano pieces with
music by Manuel de Falla, primarily transcriptions of his most popular orchestral music.
The main thing to note is that the piano is stunningly played and extremely well recorded. Venezuelan pianist Vanessa Perez uses rubato frequently but subtly to emphasize the contours of the music, in both the lyrical and dance-like sections. (On this showing, she would shine in the music of Granados.) The only time her rhythmic freedom does not work for me is in the Pantomime from El amor brujo: Falla’s languorous melody is in 7/4, but like many pianists (and conductors too) Perez contrives to make it sound like a triplet followed by a duplet in 4. Overall, there is not a perfunctory moment in these performances. Perez is skilled at setting an atmosphere, whether it is the flammenco panache of the opening of El amor brujo––almost an announcement of intent––or the nocturnal atmosphere of Debussy’s “La soirée dans Granade.” Her weighting of chords is finely considered, while the sensitivity of her phrasing is highlighted by a full, warm piano sound. In Falla’s major work for the piano, the Fantasía Bética, she cedes to the harder-edged virtuosity of Alicia de Larrocha, but provides a thoughtful alternative even so.
The notes are only adequate. Most of this program consists of transcriptions, but no arranger is acknowledged. Minimal research reveals that Falla made his own transcriptions of the ballet pieces, and also of his late Homage to Debussy, originally written for guitar. Debussy’s Lindaraja was the French composer’s first work for two pianos. Initially I thought Perez might be playing a transcription for piano solo––one exists from 1926 by Jean Roger-Ducasse––but I decided she must have been double-tracking the two-piano version. Then, in the smallest font anywhere on the CD cover, I discovered a reference to a second pianist: Stephen Buck. He also adds to the excitement in the Second Dance from La Vida Breve. Buck gets no other mention, so allow me to tell you that he serves on the faculty of the Conservatory of Music at SUNY Purchase, has a Doctorate from Yale, and studied with Peter Frankl.
To sum up: This is an enjoyable program, the music-making is vital, and Perez is clearly a musician of distinction. I look forward to hearing more from her. Phillip Scott
The Venezuelan pianist Vanessa Perez could hardly have given us a more vivacious view of Spain: castanets click, guitars strum and bodies whirl in the true spirit of Andalusian flamenco. Her Interaction between Debussy (with is lifelong fascination with a once exotic neighbour) and Falla (his music as "Abrubt as when there's slid/Its stiff gold blazing pall/From some black coffin-lid") is subtle and telling. Whether in the swaying seduction of Pantomima or in the bitter and acerbic utterance of Fantasis betica, Perez has no need of the American pianist Anthony di Bonaventura's advice concerning the lack of rhytmic focus in a student's playing ("imagine your bod without a skeleton, it would jus be a great lump"). She is joined by pianist Stephen Beck in two items, making this a scintillating and enterprising disc, finely recorded.
Perez dove into the Preludes as if discovering them for the first time, flinging them out into the hall with a kind of wild intensity that was often breathtaking, as if she were forcing these delicate hothouse flowers into the fresh air for the first time.... Washington Post, May 2012
This is exceptional Chopin Playing...Prelude ( Op 45) sings with dark Passion . One of the most compelling performances since Michelangeli's ..... ( Perez) has a natural feeling for rhythm, she rarely pauses to make a point, but when she does she never sounds mannered. There is a keen sense of cumulative buildup and an awareness of the works overall architecture.....This is emotionally bold yet finely nuanced playing, the combination you need in this repertory. Personal as these readings are, they don't seem self indulgent, rather, they make you aware of the originality of Chopin's Music.
After listening to this you know exactly what Liszt meant when he said that the Chopin Preludes " modestly named, are nonetheless types of perfection in a mode he himself created, and stamped, as he did with his deep impress of this poetic genius"
Her approach to the Preludes is to invest each and every one with an immediate presence combined with the most crystalline clarity, as if this were to be her final word on the subject. That contrasts to the initial confusion many of Chopin’s contemporaries experienced when he published the Preludes in 1839. Robert Schumann’s reaction was typical: ...."They are sketches, beginnings of etudes … ruins, individual eagle pinions, all disorder and wild confusion." That bewilderment is excusable in an age when the synthesis of all the arts had progressed so far that listeners would have expected Chopin’s Op. 28 to be a set of "characteristic" pieces, each with its own implied watercolor sketch or "programme.".........
The diversity of the Preludes is remarkable. For instance, Prelude No. 13 in F-sharp may be in a major key, but it has a pronounced minor-key mood, with a connotation of sorrow or loss. Perez does some of her best work when capturing the essence of each piece in terms of its tonal center. No. 15, the "Raindrop," one of the best known of the Preludes, is also one of the most satisfying in terms of a beginning, middle, and end. Perez does a great job of defining its violent contrasts (portentous, stormy and dramatic in the outer sections, enchantingly beautiful and tender as a lovers’ tryst, in the middle) and its abrupt key changes. No. 24, with its formidable technical demands including a pervasive thundering five-note pattern in the left hand as the right plays trills, arpeggios, and rapidly descending chromatic scales, closing with three booming single notes in the lowest D on the piano is clearly one of her favorites, and she throws herself into it with abandon.........
"As we listen to Chopin's music, we are convinced that we hear a powerful narrative drama," read the CD booklet notes for this release of Chopin's preludes by Venezuelan pianist Vanessa Perez. Perez did not write the booklet notes, but they seem to reflect her approach to the preludes, for which "narrative" is not normally the first word that would come to mind.....Perez is not a product of Venezuela's famed Sistema music education system, but her fiery, fearless preludes she matches the fresh, charismatic readings that have been coming from other Venezuelan musicians. The album is unorthodox at both the micro and macro levels. Consider the opening shot, the Prelude in C major, Op. 28, No. 1, where the usually dreamy, lyrical melody with which the piece trails off turns into a sort of ominous mutter. Perez takes it from there with intense contrasts, unusual although not unheard-of tempo extremes, and in general rethinkings of almost all of the famous preludes. This is welcome in the case of chestnuts like the Prelude in C minor, Op. 28, No. 20, where Perez plays down the funeral-march aspect with a slow tempo that turns the piece into a much more personal piece of tragedy. She leaves little space between the individual preludes, and the overall effect is indeed to produce one large narrative....Chopin collectors will want it on their shelves and hard drives. Telarc's sound, which picks up what seem to be foot taps from Perez, is as intense and almost confrontational as her playing.
Vanessa Perez counts on having a prodigious technique, but many pianists of her generation and hereafter that achieve an extremely high technical level, do not have the capacity to communicate and move that this outstanding pianist possesses. If one would summarize in two words the interpretative qualities of this remarkable pianist I think it would be sensitivity and temperament ....
Concert No. 3 for piano and orchestra, Sergei Prokofiev's Op. 26 is of extreme virtuosity for the soloist as well as for the orchestra... and so was demonstrated by pianist Vanessa Perez with an impressive technique serving an interpretation distinguished by its clear and direct phrasing, very appropriate to the modernist attitude of the Russian composer...the pianist, whom the audience wouldn't let abandon the stage without the prior performance of an encore of a charming and dazzling Venezuelan joropo
....showed clear evidence of an exquisite artist, who gives her knowledge with devotion and unlimited generosity, in the manner of the most eminent artists in the history of the keyboard.
Matinee with Vanessa Perez and the Lucerne Symphony Orchestra Dortmund’s Concert House ...The Lucerne Orchestra always makes an effort to highlight the details of a work. In Mozart's Piano Concerto in D-minor KV466 they were much more than a careful accompanying body for the soloist Vanessa Perez. Axelrod made audible how the solo voice and the orchestral sound blend and penetrate each other. An ideal partner was the recipient of a stipend of the Mozart Society, because she combined in her playing a lot of spontaneous freshness and gentle poetic expression. A virtuosa with a wild heart and a gentle touch of her hand is Vanessa Perez. She deeply felt the dramatic Don Giovanni World of the beginning; then she conveyed great calm to the Romanze, with little of the sentimental coating, which many other pianists pour over this movement, which belongs to the most beautiful slow movements which Mozart wrote...
....the concerto opened quietly, but merely for a few measures before the orchestra turned into a stately, grand theme and transported us in imagination to a regal court for an important function. In another moment we knew what it was when soloist Vanessa Perez began to play with astonishing clarity and finesse. Not only was her every turn crystalline and pristine, but at the same time she had one passage after another overflowing with emotion. This was lush Beethoven...
Venezuelan American Pianist is spirited, Hot Blooded pianist, with considerable talent .She has an intuitive musical intelligence that hold’s one interest. Her wide-ranging expression can go inward, and she can unleash a torrent of Passion..
Vanessa Perez was the evening's soloist in the Russian composer's not unfamiliar Piano Concerto No. 2.... brought enviable youthful fire to Rachmaninoff's keyboard warhorse.. the Adagio had a wonderful rapt lyricism, Perez floating the main theme with poetic elegance enhanced by the dark, burnished MSO strings. Marturet and the orchestra provided well-upholstered accompaniment for Perez's high-adrenaline solo work, and the sumptuous climax of the finale made a grand and thrilling impact.
Perez can hold her head up high in the most distinguished company in this repertoire.( Ref Chopin Ballades) If anything her Albeniz is even more impressive- impassioned, rich toned and seductively coquettish where appropriate....Perez is on top form and the recording is superb..
Venezuelan American pianist Vanessa Perez is not to be taken lightly. She stormed through some beautiful works, most of them nearly unpla yable, at the Venezuelan Embassy on Thursday, her fiery impetuosity proving her technical prowess in works by Villa-Lobos, Albéniz, Ravel and Rachmaninoff....Even Mozart's Sonata in F, K. 332, had muscular energy as she raced through the Allegros. The Adagio was pure grace...
"Enchanting and supercharged, the words to describe the Venezuelan pianist Vanessa Perez."
"It is no wonder that Claudio Arrau was so moved by the technique, musicality and intelligent style of Venezuelan pianist Vanessa Perez; who played at the Kammermusiksaal of the Beethoven's House in the International summer festival "Bonner Sommer" in Bonn. She has incredible virtuosity that you could hear in the Beethoven Sonata op.31 in D minor and the Schumann Symphonic Etudes. Beethoven was interpreted with great musicality, and she does not let the "Tempest" pass you by. Very few times do you hear such a perfect and virtuoso Allegro..."
"Breathtaking! Her interpretation of Mozart's piano concerto K466 in D minor was impeccable; her version of it was passionate and diaphanous. I have to emphasize the complexity of the cadenza in the first movement of the concerto that took me by surprise, due to her creativity. From the point of view of her expressiveness, I have to thank this pianist's way of playing which moved me in every moment."
"...the two works by Franz Liszt that ended the evening were unquestionably brilliant. The Mephisto Waltz No.1, which is a veritable encyclopedia of Liszt' s technical innovations, was breathtaking in her hands. The standing Ovation the audience enthusiastically gave her was well deserved"
"The Chopin Piano Concerto in e minor with Vanessa Perez at the piano, was interpreted with great finesse, brilliant sounds, she was able to achieve the continuous flowing movement and clarity so characteristic of this music."
"...warm applause at the Bratuz for the Venezuelan Pianist. Vanessa Perez has proved to be an accomplished artists in her interpretations of the works performed tonight. The Beethoven Sonata ( in e flat major) was majestic, followed by Schumann Symphonic Etudes which besides the great virtuosity which this great work demands, one could follow the complex melodic plot, full of light and shadow, which mirrored the tormented soul of this German composer. The Chopin Fantasie op.49 performed with a diamond touch, never lacked full expression and feeling."
"...she is an intense pianist, who becomes one with her instrument, physically and spiritually, reaching that strange fusion where composer and interpreter identify. In her recital, she displayed enviable charisma and great virtuosity."
I was very impressed by her genuine talent, musicality, technical ability, but most of all by her sensitivity and temperament, qualities rarely present so together. She should go very far.
A pianist gifted with great talent, technical mastery, and remarkable performance personality.
Her level of musical perception and artistic awareness impressed me as much as her total command of the keyboard.
Vanessa possesses a rare gift: irresistible charisma. Her playing is warm, passionate, colorful, combined with superb technique.
A pianist whose technique, musicality, and intelligent approach to the music she plays made a profound impression on me. It is not possible to find a young artist today better equipped with all of the necessary qualities that my school of pianists requires from a performer.
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