Richard Raymond press reviews
Double your pleasure
"Richard Raymond in the Théâtre Maisonneuve...
The assembly of connoisseurs heard music-making of a high order.
It was an offbeat program of the type critics love. Dohnanyi’s Four Rhapsodies Op. 11 might be derivative of Brahms and Liszt, but Raymond, by dint of sheer rhetorical authority, made them sound original. There was much for piano freaks to admire. Such iron in the left hand, such fire in the right!
Liszt’s Venezia e Napoli triptych was remarkable for both its warm colours and songful sense of legato. To judge by the middle tune of the Tarantella, Raymond could add a class of Neapolitan ballads to his current pedagogical activities at McGill.”
Arthur Kaptainis, The Gazette, Wednesday, April 2, 2008
Reubke: Piano Sonata in B-flat
Beethoven: Piano Sonata 21; Variations T andeln und Scherzen
"The Reubke Sonata is clearly Raymond's showpiece (he won the Fifth edition of the Web International Concert Hall Competition with it). Written by a young student of Liszt, it bears more than a passing resemblance to the Master's B-minor Sonata. (Passages if the work contain embarrassing little microcosms of Liszt's masterpiece). This sonata is great theater, with demanding technical displays surpassing even Liszt's, and Raymond delivers all of the drama and poetry one could hope for, finally adding credibility to the notion that the work is deserving repertoire."
American Record Guide, May/June, 2004
Kitchener-Waterloo Symphony plumbs the depths in a musical Feast of Faust
"His Piano Concerto No.2 in A Major is just the challenge for a virtuoso like New Brunswick-born Raymond. Raymond now lives in Quebec, and has earned many coveted performance awards. Yesterday's audience quickly heard why, as Raymond is a dazzling virtuoso.
Tackling this intricately embroidered, one-movement concerto is not for the faint of heart. Tremendous physical and emotional strength characterize Raymond's style. To this, add Raymond's profound grasp of his relationship with the conductor and orchestra.
Both Liszt's Totentanz (Dance of Death; performed scarily perfect by Raymond), and the orchestra's Finale to Liszt's Faust Symphony, called Mephistopheles, allowed Streatfield and the symphony ample room to display their bold blend of orchestral colours."
K-W Record, May 29, 2004
Westdeutche Allgemeine Zeitung
"If piano playing ever becomes an Olympic sport, count on Richard Raymond to win the gold metal... a very romantic virtuoso... electrifying pianist..."
"His performance of the Beethoven 4th Piano concerto (with the Baltimore symphony) would not have been out of place in partnership with any orchestra in the world..."
"Raymond is a name to watch..."
"An electrifying performance..."
"A warmly expressive pianist..."
Kansas City Star
"He played with great assurance, at full power..."
"A fascinating performance, made remarkable by the absolute genius Raymond has for making the piano sing... a compelling imagination for shape and texture... an amazing control of tone and timbre..."
Chronicle Herald, Halifax
"Raymond comes across as a musician who knows exactly what he expects from a piece and how to get it..."
"He left the listener wanting much more... a clean but passionate player, who can make more music out of a five-note run than most manage from an entire movement..."
"Richard Raymond gave a beautiful performance, carefully balancing the subtle with the spectacular..."
"Raymond is blessed with an extraordinary technique that enables him to take difficult passages at an ambitious pace and yet make every note speak clearly..."