Recenze

  • "Czech pianist Boris Krajný delivered Mozart's Piano Concerto No. 23 with clarity, directness and simplicity. His exquisitely shaped phrases, tender reading of the siciliano second movement and exuberant third-movement tempo displayed selfless musical reserve that cast the piece, not the soloist, in the spotlight." (Milwaukee Sentintel)
     

  • "In Carnegie Hall, the highly-regarded Czech pianist Boris Krajny (who made a notably successful American debut there last season) came back to play with the Prague Chamber Orchestra. Krajný, whose Ravel and Debussy were praised last year, was fully as adept with Beethowen's Third Concerto. His technique was virtually faultless (especially in some superbly-articulated chromatic runs), while his big-boned interpretation had a near-miraculous balance of control and abandon." (New York Daily News)
     

  • "One of those happy convergences of energy, creativity and first-rate timing that can result in memorable moments in a listener's life. Mozart was the main beneficiary. This almost eerily mercurial work - alternately limpid and pensive, dramatic and delicately nuanced - was interpreted by the coolly expert Krajný with near-micrometer precision... It was a superior job." (The Milwaukee Journal)
     

  • "The performance of Ravel's G Major Concerto, with Boris Krajný as soloist, was the finest I've heard anywhere" (New York Daily News)
     

  • "His warmth of expression... blended perfectly with the orchestral style of his colleagues [in Mendelssohn's G minor concerto]." (The New York Times)
     

  • "Krajný played with winning warmth and delicacy... a lyricism that Krajný rendered in a miraculous sound more akin to glass chimes than to the grand piano." (The Milwaukee Journal)
     

  • "Boris Krajný plays them [works of Voříšek] with finesse... the quality of ensemble playing is first-class... a first-class issue." (Fanfare)
     

  • "An outstanding aspect of Krajný's art was displayed in the Largo of Beethoven's Concerto No. 1 where the lyrical piano avoided percussive effects, yet lost neither strength nor vitality - both echoed throughout the dynamic range by the orchestra. And the brilliance of the finale was simply the most exciting part of the entire day." (The Globe and Mail - Toronto)
     

  • "A formidable technician with an outgoing musical personality and style reminiscent of Glenn Gould's" (Toronto Star)
     

  • "An excellent soloist... offers some crisp, lithe playing and seems to enjoy a lively rapport with his Czech colleagues. The playing itself has much to recommend it." (Gramophone)
     

  • "Subtle and spirited pianist" (The Independent - London)
     

  • "An effortlessly lyric and tasteful performer, especially smooth and facile in the finale's rippling figurations and roulades." (The Buffalo News)
     

  • "Great pianist - overwhelming, excellent technician." (Frankfurter Allgemeine Zeitung)
     

  • "He is technically brilliant and interpretatively thoughtful... a memorable example of poetical lyricism, warmly romantic without resorting to sentimentality." (The Globe and Mail - Toronto)
     

  • "Krajný is obviously a rare breed of musician... absolutely bereft of the grandiose, Krajný's playing got beneath the sparkle and transparency of Mozart's writing to reveal an affirmation of what music is all about." (Tri-City Herald - Washington)
     

  • "An excellent and beatutiful interpretation of Mozart. His rightness in tone quality and control of tempo, dynamics, accentuation and thoughtful phrasing fulfilled Mozart's intentions." (Yomiuri - Tokyo)
     

  • "Boris Krajný made the romantic manifesto of Chopin's Concerto No. 2 in F minor his own coupling a suppleness of finger technique with a well-formed legato that gave prominence to the melodic themes." (The Ann Arbor News)
     

 

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