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Sergei Babayan/Martha Argerich Recital Tour Reviews

10.30.17
Sergei Babayan

"Her congenial partner in the four-hand playing of two grand pianos was the celebrated Armenian-American pianist Sergei Babayan. Argerich and Babayan, as of one piece, celebrated the art of singing on the piano in the softest possible way. Colors of sound which have never been heard like this before."
Die Rheinpfalz 

"American-Armenian pianist Sergei Babayan created a dozen of orchestral pieces from Prokofev's ballet suite «Romeo and Juliet» for two pianos. What he created is a fluorescent drama full of radical raduance that leaves ample room for the creativity of both pianists. Argerich and Babayan, technically equals with a great sense for musical effect, present the twelve movements. The joy of inspiring each other in dialogue, passing each other the rapid tempi, merge in colorful rubati. It takes two outstanding artists to produce this – one, together: twenty fingers that make a thundering Steinway whisper, purring pianos which sound like a ray of light reflecting in manifold dewdrops. Sparks were emitting, the luxuriousness of sounds has the audience jump to standing ovations." 
Derbund
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"Babayan transscribed all this, creating a fascinating room for interpretation for himself and his partner Argerich in the process. Both artists are also perfectly at home in those musical areas where riveting, rhythmic forces give way to far-reaching lyrical episodes. The two are able to filter the smallest moments of tension and contrats from those dispersals of sound and structure, which sound as exciting as their Rachmaninov encores."
Mannheimer Morgen
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"The surprises come without warning. Babayan's gestures are a bit more expressive but still miles away from the usual messing around the piano of certain up and coming stars. And he is not just a lap dog to Argerich. The two piano parts which he distilled from Prokofiev's Romeo & Juliet ballet music are at least at equal level, often it is him who indicates the tempo, many pianistic impulses come from him, and pianistically he is not second in rank to her. His playing is somewhat more beefy than hers, but otherwise the two familiar partners all of a piece, from the mechanically hammering dissonant sound, so cherished by Prokofiev, to the fragile chords in pianissimo pads, where the music is all about farewell and death."
Basellandschaftliche Zeitung
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