{"id":44,"date":"2014-06-17T15:53:01","date_gmt":"2014-06-17T14:53:01","guid":{"rendered":"http:\/\/elizabethmucha.com\/?page_id=44"},"modified":"2014-07-17T14:42:08","modified_gmt":"2014-07-17T13:42:08","slug":"reviews","status":"publish","type":"page","link":"http:\/\/elizabethmucha.com\/?page_id=44","title":{"rendered":"Reviews"},"content":{"rendered":"

Piano Solo<\/strong><\/h2>\n
\n

She displayed a ravishingly beautiful tone together with a poetic use of rubato… This was, without doubt, fluent and assured playing…<\/p>\n<\/blockquote>\n

Glasgow Herald 1985<\/em><\/p>\n

\u2026I was very favourably impressed by her technical abilities.\u00a0 More important, her playing was communicative and full of personality, and her choice of programme displayed imagination and flair…<\/p><\/blockquote>\n

David Dorward, Music Producer
\n<\/em>BBC Radio Scotland<\/em><\/p>\n

There are some pianists who are little more than superficial speed merchants, there are some who show signs of musical feeling and intelligence, but there are pianists like Elizabeth Mucha whose intellectual grasp of the music overshadows their imposing technical prowess, making it seem almost to be an accidental corollary of the proceedings.<\/p><\/blockquote>\n

The Scotsman 1990<\/em><\/p>\n

…the Messiaen factor was most apparent in a piano solo by John MacLeod.\u00a0 It had a strong narrative line that was etched clearly by the sharp, knowing performance of Elizabeth Mucha<\/p><\/blockquote>\n

Raymond Monelle,<\/em><\/p>\n

The Independent 1992<\/em><\/p>\n

The Scottish pianist Elizabeth Mucha shone in her recital at the Catete Palace for the \u201cMusic in Museums\u201d series. It was not apparent that the night before, her residence…. had been broken into by several armed men….<\/p><\/blockquote>\n

O Globo, (Rio de Janeiro, 2004)<\/em><\/p>\n

Accompanying<\/strong><\/h2>\n

insightful accompanying<\/p><\/blockquote>\n

Linda Esther Gray<\/em><\/p>\n

\n

I consider Miss Mucha to be one of the most promising accompanists I have met in many years.<\/p>\n<\/blockquote>\n

Martin Isepp, Ex-Head of Music
\n<\/em>Glyndebourne Opera<\/em><\/p>\n

\n

\u2026she was the extension of the poem itself and the very soul of music.<\/p>\n<\/blockquote>\n

Pablo Tariman<\/em><\/p>\n

Philippine Daily Inquirer 1998<\/em><\/p>\n

\n

Elizabeth Mucha\u2026contributed her own considerable talent and musicianship to the performance\u2026conveying her own remarkable technique and artistic sensitivity throughout the recital.<\/p>\n<\/blockquote>\n

Rosalinda Orosa<\/em>,
\nPhilippine Star 1999<\/em><\/p>\n

\n

Elizabeth Mucha displayed technical and interpretative skills of the highest order.<\/p>\n<\/blockquote>\n

Rosalinda Orosa<\/em>,
\nPhilippine Star 2000<\/em><\/p>\n

The singers were securely supported by Elizabeth Mucha\u2019s accompaniment. She knows not only how to give value to the diverse and detailed pianistic writing in the songs of\u00a0 (Joao Guilherme) Ripper, but also manages to capture the many different moods in (Poulenc\u2019s) \u201cLe Travail du Peintre\u201d.<\/p><\/blockquote>\n

Lauro Machado Coelho,
\nO Estado de Sao.Paulo (2003)<\/em><\/p>\n

\u00a0<\/em><\/p>\n

The concert of 13th June was a revelation of music by Scottish composers (from the end of the 19th century to entirely contemporary): Sir John Blackwood McEwen, John McLeod (the cycle \u201c Peacocks with a hundred eyes\u201d was astonishing for its structure and its moving texts on death and the act of dying), Claire Liddell (Five Orkney Scenes) and Francis George Scott. Each song was significant, each was interesting, and each one was worth getting to know.<\/p>\n

The singer, Catherine King, delighted us with the high quality of her singing (as would be expected of a British singer)\u2026.She performed at the\u00a0 Festival with Elizabeth Mucha, an excellent pianist of Polish descent, who participates in varied musical projects on several continents and has recorded a number of CDs.<\/p><\/blockquote>\n

\u00a0<\/em><\/p>\n

Ma<\/em>\u0142gorzata Komorowska,
\nRuch Muzyczny, (Sept 2009)<\/em><\/p>\n

Art Sung<\/h2>\n
\n

Thank you very much for a really enlightening and enjoyable concert.<\/p>\n

\u00a0<\/span>It is an interesting look at life through song.\u00a0Your chosen\u00a0prism gives us a different\u00a0view from that, which\u00a0the ordinary person usually sees.<\/p>\n<\/blockquote>\n

Linda Esther Gray<\/em><\/p>\n

\u00a0<\/strong><\/p>\n

RE: Lieder Course at the William Walton Fondazione, Ischia, Italy<\/strong>.<\/strong><\/h2>\n

<\/h2>\n
\n

… Elizabeth Mucha … was one of four excellent accompanists; indeed I would single her out for her musicality and instinctive understanding of what she plays.<\/p>\n<\/blockquote>\n

Victor Price,
\nThe Scotsman, 1991<\/em><\/p>\n

\n

both … self-evidently embryonic stars.\u00a0 And I could say the same of the pianists on the course – names to watch Elizabeth Mucha…<\/p>\n<\/blockquote>\n

Michael White,
\nThe Independent 1991<\/em><\/p>\n

\u00a0<\/strong><\/p>\n

RE: Cimarosa’s opera “The Secret Marriage” at the William Walton Fondazione,<\/strong> Ischia, Italy.<\/strong><\/h2>\n
\n

..the accompaniment has to be with piano alone, and there once again the brilliant young Scottish accompanist, Elizabeth Mucha, gave a virtuoso performance<\/p>\n<\/blockquote>\n

Edward Greenfield,
\nThe Guardian 1992<\/em><\/p>\n

\n

… the pianist Elizabeth Mucha, played Cimarosa’s lively score with such skill that nobody noticed the absence of the orchestra.<\/p>\n<\/blockquote>\n

Elizabeth Forbes,
\nOpera 1992<\/em><\/p>\n

\u00a0<\/em><\/p>\n

Chamber Music<\/strong><\/h2>\n
\n

The recital by Oliver Lewis (violin) and Elizabeth Mucha at Battle Festival was a fine example of the wealth of musical talent that exists among the new generation of young professional British musicians.<\/p>\n

… the recital was nothing short of gripping.<\/p>\n<\/blockquote>\n

Kent and Sussex Courier 1991<\/em><\/p>\n

\n

Elizabeth Mucha keeps just the right perspective in what is really a very light piece and the brilliant and lightly articulated piano introduction to the last movement is a model of clarity and pulse. (Dutilleux Flute Sonata on the CD “Triligence”)<\/p>\n<\/blockquote>\n

Pan (British Flute Society)<\/em><\/p>\n

Piano Duo<\/strong><\/h2>\n
\n

…their virtuosity … more than surface brilliance<\/p>\n<\/blockquote>\n

Conrad Wilson,
\nThe Scotsman, 1988<\/em><\/p>\n

\n

There is no doubt that these two pianists play as a duo and have empathy with one another that is lacking all too often in many other duos. People were singing along which leads me to suggest that Miss Hughes and Miss Mucha are very special musicians.<\/p>\n<\/blockquote>\n

Ulster Gazette, 1988<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Piano Solo She displayed a ravishingly beautiful tone together with a poetic use of rubato… This was, without doubt, fluent and assured playing… Glasgow Herald 1985 \u2026I was very favourably impressed by her technical abilities.\u00a0 More important, her playing was communicative and full of personality, and her choice of programme displayed imagination and flair… David […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"page-full-width.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-44","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"http:\/\/elizabethmucha.com\/index.php?rest_route=\/wp\/v2\/pages\/44","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/elizabethmucha.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/elizabethmucha.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/elizabethmucha.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/elizabethmucha.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=44"}],"version-history":[{"count":13,"href":"http:\/\/elizabethmucha.com\/index.php?rest_route=\/wp\/v2\/pages\/44\/revisions"}],"predecessor-version":[{"id":187,"href":"http:\/\/elizabethmucha.com\/index.php?rest_route=\/wp\/v2\/pages\/44\/revisions\/187"}],"wp:attachment":[{"href":"http:\/\/elizabethmucha.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=44"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}