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Dmitri Alexeev

  • Pianist


Dmitri Alexeev reviews

Alexeev's ear drew him into this lively, finely tailored discourse, his heart and hands into giving a performance that was at once powerful and poetic.'
Geoffrey Norris - The Daily Telegraph

For the Schumann, they were joined by Dmitri Alexeev in a partnership notable for its spontaneous, fresh-sounding exchanges. Too often the first movement is rendered in banal fashion, but Alexeev brought it alive with subtly coloured tone, meticulous dynamic gradations and inventively turned phrases. The orchestra matched him for sweetness of tone and delicacy of phrasing in the slow movement, conjuring a wonderful feeling of fantasy - the transition to the finale was achieved with a sense of unfolding mystery, truly a shared adventure….'
Barry Millington - London Evening Standard

Pianist Dmitri Alexeev was spectacularly mercurial throughout, exuberant in the fanfares and fiercely competitive with the coruscating choral and orchestral sound. It was all marvellously eccentric, and put the interpretation of Stravinsky's full ballet score for The Firebird into the shade
James Allen - The Telegraph

Dmitri Alexeev's performance is honed to details that other pianists leave to chance. He stands, inscrutable, at the end, so that you're not sure what he is going to do until he suddenly slides on to the stool while deftly unbuttoning his jacket, and launches an encore. We got four on Sunday evening, all richly deserved. His programme was colossal, with Schumann's "Arabeske" followed by his F sharp minor Sonata, then 12 of Shostakovich's early Preludes, two by Rachmaninov, and his Second Sonata.
Adrian Jack - The Independent

And a response, too, to the inspiration of Alexeev. As the piano gently and laconically wrong-footed the orchestra in the opening march, Alexeev showed how even the most upfront Shostakovich can be teasingly subtle too.As one idea raced ahead of another, phrases were turned and nuanced with a deceptive ease, at once droll and elegant. And as the piano's voice joined the strings' slow central meditation from on high, Alexeev found here, too, just the right, slightly equivocal, tone of voice.
Hilary Finch - The Times