METROPOLITAN MUSEUM OF ART
Most of all, though, after their dynamic keyboard playing at the Metropolitan Museum of Art last night, they produced an excitement based upon enthusiasm and, yes, an empathy, a lack of ego shown by few young musicians as dynamic as they are.
Needless to say, Duo Amal played it with their usual energy, and in this rotation of ferocity and tenderness, two emotions which seem to come as natural to them as the naturalness of their wonderful musical partnership.
Duo Amal’s playing during the first and second movements, Barcarolle and La nuit… L’amour… (The night…the love…) was purely sublime. The third movement, Les Larmes. (The Tears) was heart-wrenching and the final Pâques (Easter) was full of sonic glory. And as was true of the entire evening, the powerful playing and immense sound Duo Amal is capable of producing never overpowered the warm Reinberger acoustics.
Duo Amal is clearly like-minded, with the two pianists close friends, something that translates into their performance: synchronised, empathetic and at times, with an edge of humour. It’s important to say that, quite apart from the warm, fuzzy feelings generated by their history, they deserved the enthusiastic applause they were given by this Melbourne Festival audience.
We were able to truly appreciate all the great talent of the artists, their immense virtuosity. What intensity and what presence!
Magnificent musicality and great virtuosity of Duo Amal at the Fairmont Le Château Frontenac during the 125th anniversary of the Club musical de Québec
BOSTON ARTS DIARY
Their concert was testimony not only to their technical virtuosity but to wonderfully participatory musicianship and a sense of communicative chamber playing in an instrumental arrangement which does not so easily lend itself to that
BERMUDA FESTIVAL REVIEW
Wasting no time and plunging everyone into the proverbial deep-end, the duo began on the same piano with a soulful and dynamic rendition of Schubert’s Fantasy For Piano, Four Hands, in F minor.
Beginning with a haunting tune, the pair played the piece as if they were having a conversation about the bright highs and deep ....
The pianists astonished the audience by their amazing mutual attentiveness and perfect coordination, as though they were engaging in a friendly dialogue, capturing the fast movements’ joie de vivre and the slow one’s lyricism in Mozart’s Concerto for Two Pianos.
Opening with Schubert’s piano four-hand, “Fantasia in F Minor,” the two shared the Yamaha grand bringing out the individual voices of this well-known work with a clarity and mature understanding rarely heard. Their sensitivity to voicing and bridging tonal transitions was impeccable, and they brought a rare transparency to this beautifully crafted piece.