Press
Guido Krawinkel, November 2023
Romantisch: Shorena Tsintsabadze “Dedication”
Kontraste werden wirkungsvoll ausgefahren, subtile Nuancen aber nicht vergessen. Der langsame Mittelsatz etwa gelingt ihr ausgesprochen einfühlsam und lyrisch, gleichzeitig führt Tsintsabadze den dramaturgischen roten Faden weiter, der schließlich im fulminanten Schlusssatz aufgeht.
Adrian Quanjer, July 2023
Dedication - Tsintsabadze
Shorena Tsintsabadze having selected works that fit such a sad and psychologically profound mood wonderfully well, her playing is not triste, but compassionately powerful.
Peter Sommeregger, October 2020
Romantisches in Vollendung
Tsintsabadze verleiht ihrer Interpretation neben aller technischen Perfektion auch ein besonderes Gespür für die Feinheiten der Schumann’schen Melodik.
Stefan Pieper, September 2023
CD-Review: Shorena Tsintsabadze – Dedication
Wenn die georgische Pianistin Shorena Tsintsabadze ihr aktuelles Soloalbum „Dedication“ nennt, dann ist dies das Resultat einer tiefen musikalischen wie historischen Reflexion. Dedication, zu deutsch Widmung bezieht sich vor allem auf den persönlichen Draht, den zwei der wichtigsten Komponisten im 19. Jahrhundert zueinander hatten: Robert Schumann und Franz Liszt.
Adrian Quanjer, July 2020
Klavier Romantik - Tsintsabadze
Shorena, at the beginning of our conversation, I think it will be interesting for the readers to talk about the journey of yours, as a successful continuation of the family music traditions.
June 2021
Music International Summer Academy, Its News and Plans - Interview With Pianist Shorena Tsintsabadze
Shorena, at the beginning of our conversation, I think it will be interesting for the readers to talk about the journey of yours, as a successful continuation of the family music traditions.
September 2023
“Dedication,” piano music of Brahms, Liszt, and Schumann
… Shorena starts off with Robert Schumann’s Phantasie in C Major, a work that begins with with a bright, continuously flowing, well-characterized theme that allows for, and in fact invites, numerous excursions. It is marked Durchaus phantastisch und leidenschaftlich vorzutragen (Absolutely fantastic and sorrowfully laden). And, as usual, Schumann means what he says!
September 2020
“Klavier Romantik,” Schumann, Brahms, & Chopin
… With its seemingly endless wealth of color and techniques for blending, contrasting, and superimposing timbres, Symphonic Etudes has long been considered one of the most difficult works in the repertoire, a fact which does not deter Shorena. In the past decade, I can recall reviewing only one other recording by any pianist. Interestingly, it was by her compatriot David Aladashvili (Phil’s Reviews, 3/2014). Hmm… maybe these Georgians don’t scare easily.
James Harrington
SCHUMANN Fantasie in C, op. 17. BRAHMS Klavierstücke, op. 118: No. 2, Intermezzo in A. LISZT Sonata in b, S 178
Published in 1839 and dedicated to Liszt, Schumann’s Fantasy (Fantasie in German) is a large, three-movement, sonata-sized piece. Liszt’s Sonata, equally large but a single- movement piece, was completed in 1853 and dedicated to Schumann. When a copy arrived at the Schumann’s house in 1854, Robert had already entered a sanatorium. Clara found it “merely a blind noise” and never played it. She is the dedicatee of Brahms’s 6 Pieces, op. 118 (1893). The title Dedication is perfectly chosen here.
Jerry Dubins
SCHUMANN Fantasie in C, op. 17. BRAHMS Klavierstücke, op. 118: No. 2, Intermezzo in A. LISZT Sonata in b, S 178
The album at hand is titled Dedication, and beyond the title having other resonances and reciprocities throughout her recital, Shorena Tsintsabadze dedicates this program to her beloved father, Revaz Tsintsabadze. There are, however, additional connections between the album title and the works on this disc which will be revealed anon.
Lyapunov: Piano Concertos Nos 1 & 2; Rhapsody on Ukrainian Themes – review
B.A. Nilsson, February 2011
David Fanning, February 2011
David Hurwitz, January 2011
Lyapunov: Piano Concertos
“…Puritans, prigs, and prudes need not apply, but for all those not ashamed to leave their inhibitions at the door and to acknowledge their pleasure-seeking impulses, listening to Lyapunov is like taking a bath in Russian chocolate. And Shorena Tsintsabadze is the lady of the banya . Even if you already acquired the Milne as part of the Hyperion collection, I’d urge you to acquire this new Naxos. Timings-wise, Tsintsabadze and Milne are so close to each other that the few seconds’ differences between them in all three works are so slight they’re negligible. But in the crucial areas of interpretation, orchestral playing, and impact of recording, Tsintsabadze, Yablonsky, the Russian Philharmonic, and Naxos are the clear winners.
Shorena Tsintsabadze, in contrast, is Russian through and through. She was born in Moscow, studied at the Moscow Conservatory, and then in the U.S. with Oxana Yablonskaya. Lyapunov is in her blood, and you can hear it in the way she brings out the Russian idioms in this music derived indirectly from native folk melody sources. One has the feeling that these works have special meaning for her…”
Steven J Haller, March 2011
John J. Puccio, January 2011
Robert Cummings, January 2011
Phil Muse, February 2011
Patsy Morita, April 2011
Christophe Huss, February 2011
Publié le 18/08/2004