Great debut of the Georgian pianist Sandro Nebieridze in Ostrava

Author: Milan Bátor
"It was clear from the reactions of the audience that Nebieridze clearly scored in Ostrava." "Not even for a moment did he compromise his rhythmically precise playing and top-notch technique." "I have a feeling that we will be seeing the name Sandro Nebieridze more often soon." 

Nebieridze's composition pleasantly surprised me with its maturity, fresh rhythm, color and the aptness of the formal abbreviation. His two-movement sonata offered music that was soulful and at the same time exquisitely edited for interpretation. It soon became clear that Nebieridze intended it as a creative act of his own, with which he wanted to express something important, in any case it was not just a demonstration of technical equilibrism. Stylistically, we could place his sonata between Sergei Prokofiev and the great predecessor of the young pianist Gija Kančeli.Nebieridze continued with Sonata No. 2 in B minor Fryderyk Chopin, an iconic composition that
will test the qualities of i the most skilled pianists. And surprisingly, he did well with her too. Not only did he solve the technical side with aplomb, but his concept had a beautiful expression that suits the piano interpretation of musical romantics. Nebieridze impressed with an emphatically structured percussion palette, in which he performed most convincingly in dynamically strong registers. I don't know if it's the merit of the excellent Steinway concert piano or the alchemy of the young pianist, but even the most dynamically forced notes did not sound sharp and cutting. In the finer passages, I sometimes lacked more articulate phrases and more delicately shaped pianissima, but the pianist set the central funeral march at a spectacularly slow tempo, from which he did not compromise even an inch. The result was impressive beyond expectations! 

Nebieridze chose a program for his debut in Ostrava, which certainly does not belong to schoolboys or lighthearted. Piano Sonata No. 8 in B flat major, Op. 84 Sergei Prokofiev is considered one of the most difficult compositions in the concert repertoire. However, the promising Georgian coped with her very well. Not even for a moment did he compromise his rhythmically precise playing and top-notch technique. He modeled the sonata form of the first movement as a serious sophisticated reflection. He found captivating, passionate and meditative elements in Prokofiev's music and was able to portray them with appropriate means. I suspected that Sandro Nebieridze would at least be a technically excellent pianist. However, the Georgian super-talent presented himself much more in Ostrava as a pianist with a great disposition and comprehensive preparation in all respects, who has a clear interpretative opinion and can portray it soulfully and impressively. When I say imposing, I mean only in tight-fitting means of expression. Nebieridze is not one of those piano exhibitionists who draw attention more to themselves than to the music. His contact with the audience was unostentatious, distinguished and humbly professional. They were delighted by his heartfelt bows and also an encore in the form of an elegant, virtuosically  shortened waltz by Fryderyk Chopin. From the reactions of the audience, it was clear that Nebieridze clearly scored in Ostrava. In my personal ranking, I rank this previously unknown pianist among the greatest piano talents worth watching. I have a feeling that we will be seeing the name Sandro Nebieridze more often soon. In
any case, the dramaturgy of the piano series of the Janáček Philharmonic can claim another successful point, because it does not rely only on proven stable names, but also gives space to the youngest generation of top soloists. She deserves a big thank you for that. 

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