Giornaledellamusica 15/05/2026: Il ritorno di Mischa Maisky con la Filarmonica Toscanini
La parte centrale del concerto ha visto protagonista Mischa Maisky, Solista Onorario della Filarmonica Arturo Toscanini. Nella trascrizione per violoncello e orchestra dell’Aria di Lensky “Kuda, kuda” dall’Evgenij Onegin di Čajkovskij firmata dallo stesso Maisky, il violoncellista ha saputo esaltare la drammaticità di una linea melodica attraverso una densità di suono che abbiamo potuto ritrovare anche nel più impegnativo Concerto per violoncello e orchestra n. 1 in la minore op. 33 di Camille Saint-Saëns,… Qui Maisky ha offerto una lettura decisamente personale, segnata da una forte libertà agogica e di fraseggio, capace di disegnare il tracciato melodico attraverso un timbro corposo e coinvolgente, … Alessandro Rigolli – Review in full
Crescendo-Magazine 11/04/2026: À Chantilly, un coup de cœur ...
...Quintette avec piano en mi bémol majeur op. 44 de Schumann, interprété par Martha Argerich, Sayaka Shoji, Sascha Maïsky, Lyda Chen Argerich et Mischa Maïsky, emporte l’adhésion du public. Tour à tour vif, contemplatif, enjoué et vigoureux, il bénéficie d’une écoute désormais acclimatée à l’acoustique du lieu, permettant d’en apprécier toute la subtilité. Victoria Okada - Article
Concertonet 4/04/2026: Sous le dôme de Chantilly, la magie Argerich
Pour ce premier week-end musical de l’année à Chantilly, carte blanche a été donnée à Martha Argerich, la marraine du festival... Le concert a débuté par « Octobre. Chant d’automne », extrait des Saisons de Tchaïkovski, par Iddo Bar‑Shaï au piano et Mischa Maisky au violoncelle. ... Mischa Maisky a abordé l’ouvrage avec une intériorité poignante. Son vibrato, toujours aussi large et généreux, a conféré à la mélodie de Tchaïkovski une noblesse mélancolique. ....Dans la romance « Zdes’ khorosho » (« Ici, il fait bon ») de Rachmaninov, les deux musiciens ont ensuite offert au public de Chantilly un moment de grâce suspendue, agissant comme un véritable contrepoint lumineux à la mélancolie de Tchaïkovski entendue auparavant. ...
La Deuxième Sonate pour violoncelle et piano de Beethoven a été interprétée par le duo légendaire que forment Martha Argerich et Mischa Maisky, unis par une complicité artistique de plus de cinquante ans. Ce qui a marqué le public de Chantilly, c’est la liberté absolue prise par les deux artistes. Ayant joué cette œuvre d’innombrables fois, ils s’autorisent aujourd’hui des nuances et des ralentis d’une subtilité inouïe. On ne sait plus qui dirige l’autre : les respirations sont simultanées, et les regards complices témoignaient d’un plaisir de jouer intact. L’expérience était totale : la puissance de Beethoven, la virtuosité de deux monstres sacrés, le tout enveloppé dans ce décor historique .... Un grand moment de musique ! Claudio Poloni - Article
PlanetHugill 16/01/2026: Martha Argerich & friends
Beethoven's Cello Sonata in G minor - ... Mischa Maisky and Martha Argerich took a very modern approach to the work, ... The opening was fully of drama with Maisky being very free with the phrasing, leading to some finely sung melodic lines. Throughout, Maisky applied vibrato in generous proportion and a sense of romantic phrasing. He was discreetly and elegantly supported by Argerich who brought poise to the piano part when it came to the fore. The second movement was lively and full of character, with Maisky producing some delicacy in the solo line .... Robert Hugill – Review in full
Concertonet 16/01/2026: Mischa Maisky & Martha Argerich, l’âme du « Piano Symphonique »
... Dans la Deuxième Sonate pour violoncelle et piano de Beethoven, les deux artistes ont adopté une vision moderne et dramatique de l’œuvre, faisant abstraction de toute contrainte historique stricte au profit de l’émotion pure et d’une expressivité intense. Leur complicité musicale, qui sautait aux yeux, a permis des prises de risque sur les tempi et une réactivité instantanée. Les deux musiciens ont anticipé mutuellement leurs intentions les plus subtiles et n’ont pas cherché une rigueur métronomique, mais plutôt une réactivité organique où l’un suivait l’autre instantanément dans les changements d’humeur, créant une impression de découverte en temps réel de la musique, liberté et spontanéité étant les maîtres mots de leur interprétation.. Claudio Poloni - Article
Ritmo.es 11/07/2025: Maisky al cuadrado
…Partiendo de unas Variaciones de Beethoven (las WoO 46 sobre La Flauta mágica) y del Nocturno op.19, nº 4 de Tchaikovsky, los Maisky comenzaron a subir la temperatura emotiva del concierto con una versión de Kol Nidrei profunda y meditada y una formidable versión de la Suite popular española de Falla, en la adaptación para cello y piano de Maurice Maréchal (una de las dos únicas versiones que aprobó Falla de esta obra). La emotividad de alguna de las canciones de esta Suite (como la Nana) resultó extraordinaria, con un Maisky capaz de extraer oro de cada nota.
La segunda parte del concierto continuó transitando por el terreno de las transcripciones, ahora de Brahms y Schumann. … Y los Maisky demostraron esa capacidad reservada a los mejores de compartir con los espectadores todo ese universo expresivo.
Tras un final dedicado a las Fantasías op. 73 de Schumann, que parecieron culminar con toda intensidad el concierto, los Maisky ofrecieron hasta 4 propinas, interpretadas con total compenetración y auténtica complicidad, en una camaradería musical que alcanzó a todos los presentes. Blanca Gutiérrez Cardona - Review in full
Bachtrack 9/07/2025: El inolvidable encuentro con los Maisky en el Círculo de Bellas Artes
…Con ademán sereno y concentrado se presentaron los intérpretes con una extraordinaria interpretación de las variaciones de Beethoven sobre el tema "Bei Männern, welche Liebe fühlen", de La flauta mágica. … Asimismo lograron independizar la obra dotándola de una energía peculiar, sin perder la apariencia espontánea y desenfadada de Mozart, pero mostrando el aplomo y la vehemencia de Beethoven.
… tres lieder de Brahms y otras obras de Robert Schumann. De apariencia sencilla, los lieder presentaban la distribución rítmica y la intensidad sonora que le es propia a Johannes Brahms. Ambos intérpretes lograron una interpretación donde la solvencia en estos elementos permitió a Mischa Maiksy proyectar una expresividad declamatoria francamente abrumadora, espaciando el discurso meticulosamente, sin apresurar el mensaje. Las piezas de Schumann, tal vez menos expresivas, pero sí más explosivas, si cabe, resultaron en cambio un ejercicio camerístico encomiable, donde el diálogo se convirtió en el elemento principal a través de una escritura enrevesada que fluyó con toda claridad de acuerdo a la solvencia pianística observada por Lily Maisky en el sonido y, sobre todo, en los planos contrapuntísticos reproducidos por el chelo con igualdad de articulación.
De este último compositor (Kreisler) ofrecieron para terminar el magnífico Liebeslied –que posteriormente Rachmaninov le haría un arreglo para piano que supera al original–, dando por terminado así un concierto que será difícil superar por los más grandes que vengan en el futuro. Jorge Baeza Stanicic – Review in full
The Guardian 7/02/2025: Argerich/Maisky/Ivanov – legendary pianist brings her irrepressible brilliance to chamber music programme
…Eloquent and touching… violinist Yossif Ivanov, pianist Martha Argerich and cellist Mischa Maisky perform at London's Wigmore Hall. … Here, that old friend was the cellist Mischa Maisky, with whom Argerich has been collaborating for almost half a century, and they were joined by the violinist Yossif Ivanov. Maisky had only returned to the concert platform three weeks ago after serious illness and looked rather frail. … Yet his shaping of solos in the slow movements of both Haydn’sG major “Gypsy Rondo” piano trio and Mendelssohn’s D minor Trio was certainly eloquent, and matched beautifully to Ivanov’s equally elegant violin. They were touching too in the piano-trio arrangement of Schubert’ssong Du Bist die Ruh, which was added as an encore. Andrew Clements - Review in full
The Standard .co.uk 7/02/2025: Martha Argerich, Yossif Ivanov, and Mischa Maisky at Wigmore Hall
A masterclass - …When Argerich, Maisky and the young violinist Yossif Ivanov stepped on to the Wigmore stage last night, a collective sigh of relief was breathed by audience and hall director alike. ….With Maisky and Ivanov she brought dexterity and spirit to Haydn’s popular G major Piano Trio, HXV/25, launching the final Gypsy Rondo at a cracking pace. In the wrong hands Mendelssohn’s music can seem superficial, but there should be no danger of that in the powerful D minor Piano Trio. These players found an ideal combination of aerated fluency and darker drama in the outer movements. They brought expressive intensity to the Andante, which can sound dangerously like a pious village organist if its chromatic inflections are underplayed. And the light-footed fairy style of the Scherzo was nicely offset by the vapourish air that courses through it. Barry Millington - Review in full
Bachtrack 7/02/2025 : Argerich, Maisky and the elixir of youth
…Solo Bach opened each half. Maisky, in a white silk shirt with billowing sleeves matching his billowing white hair, launched the familiar Prélude of the First Cello Suite with energy, digging deeply into the open C string. His tone is still velvety rich, laced with lashings of vibrato. The Courante and Gigue were robust, the Menuets I and II danced boisterously, albeit with occasionally smudged intonation. At the suite’s centre, the Sarabande was given the full cantabile treatment, Maisky very much in his soulful element. …Ivanov joined Argerich and Maisky for two piano trios. In Haydn’s “Gypsy Rondo” Trio the violinist has the most to do and Ivanov’s sweet tone and neat trills were most pleasing. Mendelssohn D minor Trio -….. The first movement soared, the second was a pool of warm vibrato and the finale was the most amiable of dialogues. The highlight was the quicksilver Scherzo scampering off into thin air in Puckish style. Mark Pullinger – Review in full
The Telegraph 7/02/2025: Martha Argerich is still magnificent, plus the best of February’s classical concerts
…The human drama of these two tended to sideline the third musician on stage, the 38-year-old Belgian violinist Yossif Ivanov. Which was a shame because though he may not have the commanding personality of those two craggy eminences he’s a wonderful player, with an absolutely distinctive tone. Ivanov was the rock amidst the more stormy and sometimes wayward playing of the other players in the evening’s two great piano trios. Again things took a while to settle. The contrasts in the first movement of Haydn’s well-known 39th Piano Trio were too abrupt to reveal the music’s sublime innocence. But the slow movement took on a tender glow and the wild gypsy finale brought the house down. At the end all three came together again, for a performance of Mendelssohn’s 1st Piano Trio. It was wonderful overall, …. The audience went wild, but it wasn’t quite the end. The trio had one more treat for us: Schubert’s lovely song Du bist die Rühe, which they floated over our heads so gently time itself seemed to stop. Ivan Hewett – Review in full
Bachtrack 30/09/2023 : Mischa Maisky still a live wire on his Singapore return
…It was Saint-Saëns’ First Cello Concerto on the cards again, but it was the turn of a new generation of music-lovers to experience that full flush of Maisky, and his famed big tone. The concerto’s 19 precious minutes seemed all too brief, but he made every moment count. His fiery entry sizzled with the high voltage of a live wire, one which never stopped sparking. In a concerto without a true slow movement, the central Allegretto con moto provided some kind of respite, but it was the orchestra traipsing lightly in close repartee with Maisky that kept the conversation hyper-alert and totally engaging.
Credit goes to the orchestra under South Korean conductor Han-Na Chang, herself a virtuoso cellist in her earlier career. If there were any conductor sympathetic to a cello soloist, that would be her. Not that Maisky needed any concession, as he blazed away in the finale, which also included three short, slower sections to emote, the cello’s full-throated voice again coming to the fore. The enraptured young audience was rewarded with three encores, Maisky’s own arrangement of Lensky’s aria from Eugene Onegin, accompanied by orchestra, and solo Bach, the Preludes from Suites No.1 and 2. Chang Tou Liang – Review in full
top |