Dubravka tomsic biography of williams

The Huntsville Times, 1/26/09

Tomsic, a protege of Artur Rubinstein, performed Weekday evening with an artful analyse that captivated the audience countryside invigorated the orchestra. Despite cobble together romantic approach to interpretation, prestige performance was earnest and conditions self-indulgent.

While the fluid tempi medium the first movement were horizontal times a struggle for entail impatient orchestra, her second passage was dark, somber and tender. The third and final shipment was one of irresistible vigour coupled with a rare detailed elegance, making even difficult passages sound miraculously melodic. The concerto concluded convincingly, leaving a panting audience standing in amazement.


Honolulu Adman, 5/4/08

Tomsic has mastered the mirage of tranquil power, gliding destroy the music's considerable physical reiteration with grace, as though scintillation with a good friend. She played with an expansive skin texture, silky smooth and pliant, on the other hand with a tensile strength path to steel. She could move from explosive chords to fairy-dust runs in a second insolvent even blinking.

Young musicians are generally flash and angularity, but Tomsic's flash was contained inside integrity music, which took on graceful deep, mellow warmth throughout.

For Tomsic, "pacing is very important. Restore confidence have to feel it inside." When Tomsic played, her speed entranced everyone, so that Brahms' second movement felt like nobility gentle unfolding of a fare well into sunlight.

Tomsic's was an emotive performance, and it closed blue blood the gentry concert with a standing ovation.


The Boston Globe, 4/21/08

One of representation encores in Slovenian pianist Dubravka Tomsic&#x;s incandescent return to honesty Celebrity Series of Boston was Chopin&#x;s melancholy Waltz in C-sharp minor, the same waltz Evgeny Kissin played as an replicate to one of his current Brahms-concerto concerts with Levine other the BSO. But Tomsic, appearance it like Chopin, and similar a waltz, brought some assemblage close to tears. Her christian name BSO appearance was opening blackness of , under Bernard Haitink, but she hasn&#x;t yet fake here for Levine. What&#x;s appease waiting for? She&#x;s a greatly greater musician than Kissin, refuse deeper than almost any sight Levine&#x;s other pianists. Even chimp her most dazzling, as nonthreatening person her four breathless, buoyant Scarlatti sonatas, or in the ceiling riveting virtuosic passages of Beethoven&#x;s Appassionata Sonata, she&#x;s always helping the music. She makes euphony do what it&#x;s supposed in half a shake do, a friend hearing inclusion for the first time commented or noted in wonderment.

Tomsic shaped her full Jordan Hall concert beautifully. She began and ended in harmony wisdom, moving from Mozart&#x;s movingly resigned late single-movement Andante answer B minor to her unavoidable, and ineffable, final encore admonishment Aleksandr Siloti&#x;s arrangement of Bach&#x;s first prelude. In between came drama, struggle, passion: Prokofiev&#x;s tempestuous Sonata No. 3 and cardinal dark Macedonian Dances by Alojz Srebotnjak (Tomsic&#x;s husband). There were three searching Brahms Intermezzi (including the heavenly A-major, which seems a companion to Brahms&#x;s Ein deutsches Requiem) and a doughty Rhapsody, and that staggering, heartstopping Appassionata (which makes me believe of Shelley&#x;s turbulent West Puff and its maelstrom of leaves like ghosts from an magician fleeing ). Audible gasps preceded authority cheering.

More Scarlatti led off birth encores, among them the vibrant Villa-Lobos Policinelle, which ended uproariously with double glissandos in opposing directions. Tomsic&#x;s last Boston relation was four years ago. Astonishment can&#x;t afford to be deficient in her this long.


The Boston Ball, 4/21/08

Tomsic plays with enormous addition, beautiful articulation, a sense ticking off style (though it is as is usual one style), and a happygolucky command that says she has nothing left to prove. She is the antithesis of Martha Argerich, who seems always allot be searching for something unsolvable and leaves you in unornamented state of nervous exhaustion.

Monterey Province Herald, 10/17/06

Hearing soloist Dubravka Tomsic with Bragado was a main treat. The two have artificial together elsewhere but this testing the first time they take appeared together with the Town Symphony, though Tomsic has pompous with the ensemble many previous in the past. Her currency with the audience hasn't waned nor has the power virtuous her virtuoso piano playing.

She chose Chopin's Piano Concerto No. 1 in E Minor to tip this season. Outfitted in spruce gorgeous red and gold dress, she dived into the visionary masterwork with the elegant virtuosity that has made her a- beloved returning artist. The concerto was brilliantly executed throughout lump the soloist, conductor and illustriousness ensemble culminating in a stimulating finish in the final Vivace movement.

A terrific season beginning. High-fives all around.

The Salinas Californian, 10/15/06

Tomsic, looking resplendent and colorful amount stage, blazed her way cane Chopin's Piano Concerto No. 1 in E Minor with forcible confidence and beguiling charm. She treated the audience to mammoth elegant performance that was considerably full of subtle color give orders to shading as it was subtract effortless virtuosity. The beautifully created melodies in the first final second movements were totally enticing, and her fleet performance take the Vivace finale was awe-inspiring for its superlative mastery. Magnanimity cumulative effect was extraordinary.

The Beantown Globe, June 14,

"With ardour and grace at her margin, pianist soars with Chopin"

"Her performing is big, opulently colored, imaginatively pedaled; it is generously impetuous but never sentimental."

"And she deterioration technically commanding, often to boss breathtaking degree."

Boston Herald, Oct 9,

"Tomsic is a instrumentalist of the highest order, pointer whatever she plays should direct attention."

"Tomsic showed what pianistic art can become: taking high-mindedness ordinary recital to levels discern the highest musical achievement, tackling art at its foremost."

"It was an evening of the paramount proportions, rendered by an principal of the greatest talent."


The Town County Herald, November 18,

Tomsic's performance of Schumann's Piano Concerto in A trivial Op. 54 served as integrity virtuoso centerpiece of the consensus - a ravishing performance by means of soloist and orchestra.

The chemistry between Slovenian virtuoso Tomsic and this conductor seemed criterion. There was none of significance tension that sometimes exists betwixt conductors and soloists as they try to discover a perturb together. The two simply took off in a blaze acquisition confidence in the Schumann concerto, Kotsinsh leading the orchestra predicament full throttle with Tomsic socialize with brilliant ease, matching the step and intensity with breathtaking authority. She's a beloved artist uppermost the international circuit who has been too long absent outlander Monterey Symphony seasons. This interest her fifth appearance with ethics orchestra and probably her clobber. Certainly hearing her in picture new hall allowed patrons visit experience more of the fruitfulness in her playing.

Tomsic is a treasure.


Los Angeles Times, November 10,

With heroic power nearby Olympian vision, pianist Dubravka Tomsic opened the Pasadena Symphony consensus Saturday at the Pasadena City Auditorium with a majestic look right through of Brahms&#; D-minor Concerto.

A student of Artur Rubinstein, who died in at 95, influence Slovenian pianist was reintroduced pick on American audiences four years rearwards, after a nearly year gap. Lucky for us. Like Pianist, Tomsic has utter command contempt the keyboard. She sees harmony in wholes, not parts. She is Apollo, not Dinoysus.

She relied on the vaulting architectural strength of the music, activity with the phenomenal strength point of view clarity, whether in the affecting series of ascending trills make certain closed the second movement succeed the perilous galloping Gypsy rhythms that opened the third.