….. ” save your superlatives until you have heard Eldar Nebolsin ” …. ” he may well be the Richter of his generation ” …. ” rivals the best ” …. ” close to stunning ” …. ” virtuoso of power and poetry ” …. ” ranks among the finest “…. ” rivaling Rubinstein ” …. ” Nebolsin is the real thing, a genuine virtuoso who can interpret with imagination and style ” …. ” the ideal in the performance of Chopin ” …. ” a tremendous technique and capable of almost finicky precision ” ….
Tchaikovsky Piano Concerto No. 2 and Concert Fantasia. Naxos. NZSO/Michael Stern. Naxos has already released two highly praised discs featuring the same couple of works. In many respects, this latest recording offers the best of both worlds. Eldar Nebolsin yields nothing in terms of brilliance of technique, but his piano tone is richer and more subtle in its variety of colour. The extended cadenzas in the first movements of the Concerto and the Concert Fantasia exude great atmosphere and maintain a good sense of musical coherence. Nebolsin hardly puts a foot wrong. Performance. 4 stars. Recording. 4 stars. Erik Levi BBC Music Magazine
Das Ensemble der Spectrums ist eine Wundertruppe. Zum Beispiel durch den großartigen, lässig großtonigen Eldar Nebolsin am Klavier. Translation: The Spectrum Ensemble is miraculous. For instance Eldar Nebolsin who possesses a rich, marvelous and unforced sound. kulturradio.de
It was a joy to experience the dynamic Uzbek pianist in action, easily vanquishing the challenges that Tchaikovsky’s first movement presents ( Piano Concerto No. 1 with Michael Stern and NZSO), the ultimate being the great cadenza. Nebolsin brought a real sense of cohesion into the cadenza’s fiery four-and-a-half minutes; a touch of playful capriciousness did not go unnoticed in a passing Andante.
Concertmaster and principal cellist joined Nebolsin in the second movement for some well-turned chamber music, and the Finale was an uninhibited romp, an adrenaline-pumping ride on a runaway troika; page upon page of deadly dotted rhythms sustained a new momentum and sense of edge-of-the-seat inevitability.
Nebolsin’s encore, after the extreme exertions of the concerto, was a lingering G major Prelude from Rachmaninov’s Opus 32. William Dart New Zealand Herald
Here was, I thought, a demonstration of keyboard virtuosity which seemed to grow from right out of the music’s heart ( Tchaikovscky Piano Concerto No. 2 / NZSO / Michael Stern ) – it possessed a kind of compulsive playfulness that exuded total involvement, far removed from brilliance for its own sake. Nebolsin seemed to take nothing he played for granted, voicing his lines exquisitely in quieter places, in dialogue with the orchestral winds, then just as spontaneously bubbling his textures up and over with delight in his more rapid passagework. …. the Andante’s opening conjured up an entirely different world of sensibility – Nebolsin’s real-time response was to add to the melody’s beauty with phrasings that actually brought to my mind in places the Brahms of some of the latter’s Intermezzi. But there was more to it than lyrical expression – the exchanges took on a passionately operatic air in places. How we all delighted at the whiplash crack of the finale’s opening! – again, Nebolsoin’s playing had such a sense of fun accompanying the brilliance – real panache, a wonderful amalgam of impetuosity and confidence! Peter Mechen MiddleC.com
“He may well be the Richter of his generation … There is sheer pyrotechnic display on offer here that rivals the best on my shelf ( Liszt Piano Concertos )… He commands a formidable dynamic range; yet he knows when to caress the keys…”
American Record Guide
“The two Chopin discs are impressive with Eldar Nebolsin comfortably among the finest interpreters of his generation.”
BBC Music Magazine
“These are performances that rank among the finest …. not only can the performances hold their own with the very best of the same three works ….. but the individual concertos compare with those by the likes of Katchen and Richter. They are that good.” Gramophone Magazine
“it would be difficult to imagine a more effective presentation of the virtuosic solo parts than that offered by Eldar Nebolsin. He clearly has fun with the quick outer movements, and especially the finales, with their touches of rustic humor. The central slow movements, in contrast, are poetic and often exquisite. ( Lopes-Graça Piano Concertos / Naxos ) ….. These works are a real find ” David Hurwitz ClassicsToday.com
“Nebolsin surely understands Schubert, right down to the smallest details. His cogent interpretations and masterful execution fully convey Schubert’s music with clarity of purpose and emotional power.”
“It is this recording, by young Russian pianist Eldar Nebolsin of Rachmaninov’s Preludes complete, which is close to stunning.”
“His own going cycle of Chopin’s works for piano and orchestra for Naxos will doubtless add to his growing reputation as one of classical music’s great firebrands.”
“Scintillating pianism that rival the greats in this repertoire …. Nebolsin, after his superb recording of the Liszt concertos, proves himself a scintillating and persuasive Chopinist, alive to every detail and, indeed, subtly highlighting a few that are generally ignored, such as the underpinning by the left-hand at 2’22” et seq in the concerto’s last movement. This Rondo is, for me, the highlight of the disc, nonchalantly fleet-fingered, beautifully phrased and conveying a real joy of shared music-making…. rivaling Rubinstein…..”
“For me this is near the ideal in the performance of Chopin …. Although he plainly has the technique to tear through simply showing off his virtuosity, and he is certainly not afraid to do so when that is required, he is more interested in the changing character of the music, and of its lines ….. over and over again I was delighted to be able to hear details of inner voices and details that are usually submerged in the texture…. with a delightful variety of tone colour and lightness of touch. … goes straightaway to the top of my preferred performances of the Concerto.”
“There is no question about his virtuosity and technique: in the outer movements ( Rachmaninov Piano Concerto No 1 ), he produced a sparkling, rich sound that was powerful yet entirely unforced. But there was also an appealing measure of consideration in his playing. Even in overtly showy passages, phrases blossomed beautifully, and in the slow movement Mr. Nebolsin used this technique to give the piano line a singing, arialike quality.”
New York Times
“You can spend a lot of time listening to the teeming brood of younger pianists, but save your superlatives until you have heard Eldar Nebolsin…. though possessed of a tremendous technique and capable of almost finicky precision … he finds wonder and joy in the music at hand ( Schumann and Beethoven ) and communicates it without reservation…..”