Eliso Virsaladze was considered the greatest rare female pianist no less no.more by Svaytoslav Rikhter himself. She was grandaughter of the prominent Georgian pianist Anastasia Virsaladze
Interesting comment, however *much too long* . The performance (obviously) is *briliant* : sensitive without emphasis -- and the tempo of the firs movement, 'estremamente animato', as passionate than the one chosen by Mrs Argerich.
Felicitaciones! A la extraordinaria pianista por su magnifica ejecución de Kreisleriana. Posee una técnica muy depurada con derroche de talento! Está casada con la Música celestial. Bendiciones!!!
I don't agree really either! Think about Schumann's own mental disposition: when Maestro Virsaladze threw herself at the onset of the Kreisleriana, she rendered the onset of a hype phase of his bi-polar (at least delusional) mental disease. You will find more "down" ones at later (slower, non agitated) chapters of the Kreisleriana. Control in a non-controllable disposition is what characterizes Maestro Virsaladze's beginning. You will find many more "dual" moments in Schumann's music. Most visible ones on his Carnaval, for example: "Eusebius" reproduces an incredible rendering of BOTH faces of his disease AT THE SAME TIME, as the writing splits the music between the hands playing 4 notes against 7, which is impossible to play without wobbling, beyond any rubato or fabrication: you hear the acute suffering translated by Schumann's genius. And when you try to play it, you will be inclined to "re-create" the tension created by Schumann, like arming a bow. Now when Schumann's own dual Mr. Hyde responds to Dr. Jekyll in "Florestan", you realize how swiftly did his mind jump back to a smiling track. But for how long? That's Clara secret! Watch Claudio Aarau's video demonstrating it here at 7:35 from ua-cam.com/video/fSG1CTVD4fo/v-deo.html You can see from Aarau's face how deeply this artist moved into re-enaacting the composer, as a striking departure from the Russian school's impassivity which Maestro Virsaladze practiced and was teaching. Have a great day, even if confined!
looking at these words, we all understand that you have an education from the West. Now, understand that your schools can't be compared with the Russian ones, because the Russians are artists, and you play the piano and that's it. If you don't know, Eliso is one of Schumann's best performers. Apparently they did not know, but if you play Schumann's works, then please take lessons either in Germany or in Russia, because you will not have the good knowledge that is necessary for an artist. Unfortunately, you don't have one. Sorry!
A truely great artist- under appreciated in tthe West. And my god, what a focused and respectful audience. Bravo Rus!
Not under-appreciated, only *not well-known* ...
ВЕЛИЧАЙШАЯ ПИАНИСТКА!
Глубочайшая личность,
невозможно слушать без слёз!
я полностью согласен...
Вирсаладзе изумительна. Суровый и в то же время необычайно одухотворенный человек. Очень ее люблю
One of the greatest masters of piano. She is a LEGEND!
She is a true musician and a master of piano.
The Best and tho most interesting interpretation I've ever heard in my opinion ❤️
Epochal rendition of Schumann's Kreisleriana.
Eliso Virsaladze is the greatest interpreter of Kreisleriana in my opinion.
WITH Viktoria Postnikova's one! Really, her performance never was surpassed. :-) Both are 'great ladies' of the piano.
❤❤ICH LIEBE ELISO.
Найлучший концерт среди остальных. Браво, Элисо.
lovely interpretation... bold, sensitive... searching... heartfelt...
marvelous!
Eliso Virsaladze was considered the greatest rare female pianist no less no.more by Svaytoslav Rikhter
himself. She was grandaughter of the prominent Georgian pianist Anastasia Virsaladze
@@MarcelMombeek so, lets show us how to play this better, i want to hear)
Great performance! 👏👏👏🎹
Bravo!
СПАСИБО СВЯТОСЛАВ БЭЛЗА !!!
Элисо величайшая пианистка!
гениально ю, когда смотрю на ее пальцы как они виртуозно скользят по чёрно-белым клавишам рояля душа замирает......
ელისო შენ გენიოსი ხარ ბრავო БРАВО 👏👏👏💐✌️♥️🇬🇪
Браво, Элисо Константинова
❤Bravíssimo ❤🎹🙏
Muchas Gracias
Божественное ЛИЦО ШУМАНА
Wonderful ❤
A real artist!!
Start 4:36
Божественное исполнение Элисо
Божественного Роберта Шумана!!!
სუპერ!
Interesting comment, however *much too long* . The performance (obviously) is *briliant* : sensitive without emphasis -- and the tempo of the firs movement, 'estremamente animato', as passionate than the one chosen by Mrs Argerich.
It’s because she chose to play the first version which is a bit longer.
Felicitaciones! A la extraordinaria pianista por su magnifica ejecución de Kreisleriana. Posee una técnica muy depurada con derroche de talento! Está casada con la Música celestial. Bendiciones!!!
30:40
I like it 👍🎶👏👏👏
26:59
Im Eröffnungsstück kommt die kunstvolle Auftaktkonstruktion in diesem Tempo gar nicht zur Geltung.
СВЯТАЯ ЭЛИСО !!!
Maestro
😍😍😍😍😍
4:40 Schumann Kreisleriana
4:40
Слушать невозможно-вечный кашель и чихи зрителей
Я ещё и пару пУков расслышал...😬
Horowitz... I miss you...
I AGREE!
Beautiful version . Thanks for sharing.
I also have recorded Kreisleriana.
ua-cam.com/video/ta4MwktQCB4/v-deo.html
a little too technically like an express train for my taste. But what a technique - she plays the opening like an etude of Czerny, though
She won 1st prize at Schumann Competition and S. Richter considered her Schumann to be the best, trust me, she knows how to play...
Мне не очень понравилось исполнение, показалось скучноватым... да. всё чётко, выучено, отшлифовано. но... равнодушно как-то.
Terrible , wrong notes, wrong dynamic, not expressive, muddy pedalesation.
Do You have ears 👂?
I don't agree really either!
Think about Schumann's own mental disposition: when Maestro Virsaladze threw herself at the onset of the Kreisleriana, she rendered the onset of a hype phase of his bi-polar (at least delusional) mental disease. You will find more "down" ones at later (slower, non agitated) chapters of the Kreisleriana. Control in a non-controllable disposition is what characterizes Maestro Virsaladze's beginning.
You will find many more "dual" moments in Schumann's music. Most visible ones on his Carnaval, for example: "Eusebius" reproduces an incredible rendering of BOTH faces of his disease AT THE SAME TIME, as the writing splits the music between the hands playing 4 notes against 7, which is impossible to play without wobbling, beyond any rubato or fabrication: you hear the acute suffering translated by Schumann's genius. And when you try to play it, you will be inclined to "re-create" the tension created by Schumann, like arming a bow.
Now when Schumann's own dual Mr. Hyde responds to Dr. Jekyll in "Florestan", you realize how swiftly did his mind jump back to a smiling track.
But for how long? That's Clara secret!
Watch Claudio Aarau's video demonstrating it here at 7:35 from ua-cam.com/video/fSG1CTVD4fo/v-deo.html
You can see from Aarau's face how deeply this artist moved into re-enaacting the composer, as a striking departure from the Russian school's impassivity which Maestro Virsaladze practiced and was teaching.
Have a great day, even if confined!
looking at these words, we all understand that you have an education from the West. Now, understand that your schools can't be compared with the Russian ones, because the Russians are artists, and you play the piano and that's it. If you don't know, Eliso is one of Schumann's best performers. Apparently they did not know, but if you play Schumann's works, then please take lessons either in Germany or in Russia, because you will not have the good knowledge that is necessary for an artist. Unfortunately, you don't have one. Sorry!
Avez-vous une idée de ce que vous parlez? Ne voyez-vous pas la compréhension totale de chaque phrase, de chaque note?