Fischer-Dieskau draws us through Kreisleriana's labyrinth with a sensitivity to its quiet recesses and magical lyric stillnesses, as well as its bluster.
No channel of expression is left unexplored... Fischer-Dieskau is complementing Schumann's subtleties of phrasing and texture.
(The Scotsman ****)
Elena Fischer-Dieskau gives us Brahms played with the sort of style of which Dietrich Fischer-Dieskau would have approved.
Fischer-Dieskau's articulate fingering packs a powerful punch and her close attention to the blend of her playing with the orchestra is always apparent.
Soloist for the Tchaikovsky's Piano Concerto No.1 was pianist Elena Fischer-Dieskau who brought exciting drama and an infectious sparky attitude to the well-known piece. Her approach was bold and authoritative, her touch turning light and dreamily sensitive in the development passages. Fischer-Dieskau made the fearsome chord sequences and double octave runs look easy, hurtling towards an exciting finish.
Elena Fischer-Dieskau combines precision, distinction, elegance, magical dexterity and infinite tenderness with a caressing touch on the piano and attentive communication with the orchestra, in Schumann's piano concerto.
Fischer-Dieskau's delicate hands produce a thunderous sound. The young pianist enchanted the audience with her emotion-filled performance and inspired every last member of the audience.
The young pianist delighted the audience with her sensitive playing. She is an outstanding pianist full of passion, concentration and youthful energy that draws the audience to her.
The large dynamic spectrum across Brahms’ 16 Walzes op. 39 was scrupulously illuminated by Elena Fischer-Dieskau, as well as the characteristical complexity which binds them. The young woman then shook the piano with Prokofiev's seventh Sonata op. 83, playing with wild determination, alternating lyrical parts in lost "dreamworlds" with barbarian virtuosity.
Elena Fischer-Dieskau built this incredibly virtuosic piece that is Franz Liszt's Dante Sonata with a ruthless force but also a delicate differentiation in the lyrical parts.
Entering the scene, the delicate and slender pianist Elena Fischer-Dieskau presented a great resemblance to a Jane Austin's novel young heroine. Her expressive interpretation of Rachmaninov's second piano concerto, combined with her great technical mastery of the piano, was greeted by the audience with a standing ovation.