Throughout the recital, Ms. Rhee
showed herself to be a sensitive
accompanist. There were never any
balance problems, changes of tempo
were performed as one, and her
piano interludes and more active
accompaniments were a pleasure to
listen to. …………
…..the high point of the concert was
the third encore, Schubert’s
Erlkönig. Ms. Rhee was, as before,
an equally able partner. She set a
perfect tempo (not the breakneck
speed which has become so popular
these days), and handled Schubert’s
fiendishly difficult octave triplets
with aplomb.
Harry Saltzman, New York Concert
Review, 2004/IV
Highly Romantic and Brilliant
Süddeutscher Zeitung (Munich),
May 11, 1999
A multitude of admirable soloistic
virtues were exhibited: the superior
technical confidence and delicate
touch was shown by the pianist.
With her cultivated as well as
expressively singing and exquisite
pearl-like sparkling touch, tolerating
no form of inaccuracy, she
conveyed the proper intensity on
each tone and every phrase....
Die Rheinfalz, June 16, 1992
Powerfully capturing, colorful and
graceful... The duo impresses with
their sensitive musical congeniality
and technical supremacy.
CD review from Stereo, June 1992
Ms. Rhee's accomplished and
sensitive accompaniment
complemented and enhanced
Wang's playing.
Omaha World-Herald, April 11,
1991
Heasook Rhee, the extraordinary
pianist....as a sensitive and
intelligent co-creator, captured the
very essence of the work.
Nord-West Zeitung (Bremen),
March 19, 1991
Elegant piano playing.....
The New York Times, February 2,
1991
She had a complete command over
the piano, with the powerful sound
as well as the whispering pianissimo
which was so often missed by other
pianists. The result was rare concert
experience which people will
remember with joy and enthusiasm.
Zürichsee Zeitung, March 13, 1990
Duo in complete harmony of sound
and style... it was fascinating to
witness how fire and water were
united to compatibility in this
interpretation.
Münchener Merkur (Munich),
January 23, 1989
Rhee, a responsive and careful
listener, brought partnership, not
just accompaniment, to the
performance. Her participation was
such that at times she seemed to be
playing the cello part as well as her
own.
Berkshire Eagle (Pittsfield, MA),
December 1984
|
|
