Imogen Cooper press reviews
"Imogen Cooper's energetic and intense playing in Beethoven’s great 5th Piano Concerto combined with the qualities of the orchestra to produce a wonderful whole, so that at the end cheers quite rightly errupted."
Neue, 22 May 2010
Britten Sinfonia, Bregenz Festival
"She gave Beethoven's Third a weighty performance. Hallmarks of her playing included clarity through great fistfuls of runs and arpeggios, with occasional glimmers of color and atmosphere as she propelled the tempos along. The Largo had an interior quality, and her inspired communication with the orchestra's wind soloists reminded the listener that she is a chamber music performer of the highest caliber."
cincinnati.com 29 January 2010
Cincinnati Symphony Orchestra
"British pianist Imogen Cooper delivered a fleet, strong-willed rendition of the meaty piano concerto, pulling back dramatically when needed to give the music extra emotional resonance.
The Toronto Star, 20 January 2010
Toronto Symphony Orchestra
"Her Schubert recitals demonstrated a rare ability to negotiate the composer’s change of moods between flippancy and tragedy, managing such delicacy in differentiating shades and tones with individual phrases. It was playing of the greatest intelligence and musical integrity."
QEH Schubert recital, The Guardian, 11 December 2009
"Imogen Cooper's live Schubert takes its deserved place alongside the greats. Free from the confines of the studio, Cooper rises to the occasion with performances that show a courageous advance on her already distinguished work. This is true, most strikingly, in the great penultimate A major Sonata, D959. The catalogue may be filled to the brim with outstanding discs of this epic work yet few more deeply charged or felt performances now exist on record."
Gramophone Magazine, September 2009
Schubert Live Volume 1
"Imogen Cooper brought a suave athleticism to Mozart's Piano Concerto No. 25 in C major (K. 503). It helped that Rattle continually adjusted the volume of the strings, making them duck under the sound of the piano at key moments. Revealed was a pianist with a fairly romantic view of the piece, using rubato liberally but smartly. Articulation and color were agile servants, so that not a single phrase passed from Cooper's hands without being imbued with some form of emotional meaning. It might be hard to substantiate this feeling, but it's an important one to recognize: Cooper achieves that rare affect in her playing that she is creating something personal."
The Philadelphia Inquirer, 7 May 2009
Philadelphia Orchestra/Sir Simon Rattle
"On the first half of the program, Imogen Cooper gave a rewarding account of Mozart's Piano Concerto No. 25. It is also, appropriately enough, one of the more grandly scaled of Mozart's piano concertos, and Cooper's eloquent, musically intelligent playing was true to the bold profile of this work without sacrificing suppleness or grace."
The Boston Globe, 1 May 2009
Boston Symphony Orchestra/Colin Davis
"From the sprung vitality of the Menuetto of the G major Sonata (D 894) and the sublime harmonic switchbacks and Lieder-like voicing of the Moments Musicaux (D780) to the heroic narrative of the C minor Sonata (D 958), this was playing of unfaltering refinement and complete engagement with the score."
The Telegraph, 25 April 2009
Queen Elizabeth Hall, London
"Ms. Cooper opened with the Piano Sonata in A (D. 959) from 1828, Schubert's final year. Odd as it may seem to say about a nearly 40-minute piece, a sense of disruption is paramount. A jaunty initial air is scuttled by sidelong perorations. The tranquil Andantino is violently sundered by an agonizing disruption at its center; the frisky Scherzo breaks down into indecisive stuttering. The finale attempts Beethovenian grandeur, but seizes up as if faced with some existential void. Ms. Cooper was equal to the work's technical demands, but it was her cleareyed, warmhearted assessment of its philosophical implications that made her account remarkable."
The New York Times, 26 February 2009
Alice Tully Hall, New York
"The raison d'être of Imogen Cooper directs Beethoven was the Piano Concerto No 3 in C minor. There were no frilly hand gestures; no lungeing of the body towards the orchestra; no coy nods and winks. What transfixed the audience was the palpable energy that coursed from player to player: from keyboard to leader's bow, from violins to woodwind and brass, and back again. The organic power and economy of Beethoven's writing felt more dynamic than ever. Cooper's own rhythmic regeneration of theme and counter- theme, her sense of direction, and her ability to let the music yield and breathe, led to a fearless cadenza with a movingly hushed exit. A veiled inwardness hung over the slow movement. And the finale was measured, tense with concentrated energy, and with wonderfully tapered phrases of harp-like passagework."
The Times, 11 February 2009