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Peter Burwasser
Fanfare, November 2009

Two of the works, the Sonata and Night Fantasies, seem to be finding a permanent place in the standard repertoire, which they deserve. There are neo-Lisztian elements in Carter’s work, so perhaps it is appropriate that my list this year also includes Liszt piano music, well, via the Beethoven Ninth Symphony…

To read the complete review, please visit Fanfare online.




Robert Carl
Fanfare, November 2009

Ursula Oppens’ stunning recital, which breathlessly catches up with the composer to give us his complete piano music to date…

To read the complete review, please visit Fanfare online.




Art Lange
Fanfare, November 2009

Ursula Oppens’ revealing survey of Elliott Carter’s musings early and late…

To read the complete review, please visit Fanfare online.




Charles Timbrell
Fanfare, November 2009

Ursula Oppens gives masterful readings of the piano music of Elliott Carter, the dean of American composers, ranging from the iconic Sonata (1946) to the amazing non-chordal Caténaires (2006).

To read the complete review, please visit Fanfare online.




William Zagorski
Fanfare, November 2009

Ursula Oppens’ traversal of Elliot Carter’s piano music is phenomenal.

To read the complete review, please visit Fanfare online.



Michael Cameron
Fanfare, March 2009

Oppens moves with complete authority through the dizzying variety of this absorbing music. …Her reading of Night Fantasies is an extraordinary achievement, but I still find this work impenetrable. While comparisons of individual works from other pianists might reveal the odd preference elsewhere, Oppens sets a new benchmark for the composer’s keyboard works. © 2009 Fanfare Read complete review



Robert Carl
Fanfare, March 2009

Ursula Oppens has been a devoted advocate of Carter’s music for decades. She has taken his Piano Concerto as a signature work, and was one of the four original commissioners of Night Fantasies. Her touch is exact and steely, her passagework a wonder to behold. No one understands or projects the mercuriality of the composer’s music better. The fantastic, the whimsical, the breathtaking—all come through unfiltered. At the same time, it’s worth noting that Carter’s music is rich enough to evoke different and legitimate interpretations. © 2009 Fanfare Read complete review



Paul Ingram
Fanfare, March 2009

Ursula Oppens has been playing the math-strewn 20-minute Night Fantasies since the 1980 premiere, and she now makes easy sense of its uneasy portrayal of an insistently restless, but sleeping, mind. Her take on the early, deeply affecting, and mighty Sonata is a grand one, and all the recent fantastical miniatures are enjoyable straight off.

Oppens is individual, too, in Carter. She plays up the music’s insistent, questing, dark side and Carter’s preference for the vigorous, and that’s a valid approach. © 2009 Fanfare Read complete review





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