Répertoire exigeant, artiste convaincant François Tousignant, "LE DEVOIR", Montréal (Canada), lundi 4 novembre 2002 "Pour célébrer ses quarante ans, l'Institut culturel italien de Montréal a proposé au public de les réentendre. Cest le tout jeune pianiste italien Christian Leotta, vingt-trois ans, qui nous invite à l'aventure. Jeudi soir, il présentait un programme costaud : les trois dernières Sonates de Beethoven.force est de saluer haut et clair la personnalité exceptionnelle de cet artiste, la manière bien particulière qu'il a de " livrer " le répertoire.Beethoven avait de l'imagination et Leotta se hisse presque à ce niveau.Dans l'opus 110, l'aisance technique fait qu'on flotte dans cette musique.Les grands arpèges du début se transforment en caresses qui aboutissent à soit une intrigante interrogation, soit en une résolution apaisante. Dans la fugue de la fin et le Chant de plainte (Klagender Gesang) qu'elle embrasse, le musicien domine tellement les difficultés de ce mouvement qu'on commence à entrer vraiment en contact avec ce que les romantiques appelaient l'Esprit.la science se mettait toute entière au service de l'intuition. Avec l'opus 111, on a affaire à un tout autre pianiste, comme si Leotta s'était réservé pendant la première partie du récital.l'énergie de l'Allegro était palpable, sans exagération, et dramatique à souhait. Dans les sublimes variations qui closent la sonate, Leotta fut irrésistible.Dans l'environnement intime de jeudi, en grand musicien, il a accompli le miracle de nous faire entendre sans avoir l'impression de réentendre. Les grandes versions abondent dans la mémoire ; ce qui a été proposé les rejoint avec sa différence personnelle qui ne trahit rien du texte. Comme la musique fige le temps dans ses séries de trilles, Leotta - avec, encore une fois, une technique impeccable - suspend le défilement de la trotteuse jusqu'à ce qu'on se rende compte que c'est, déjà, fini. On sort de la salle pour se rendre compte que, cependant, cela ne fait que commencer". TRANSLATION: Demanding programme, convincing artist "To celebrate its fortieth anniversary, the Italian Cultural Institute of Montreal offered to the public Beethoven's thirty-two piano sonatas. It was the very young Italian pianist Christian Leotta, twenty-three years old, who set us off on this adventure. On Thursday night, he undertook a robust program consisting of Beethoven's last three Sonatas.One has to give great credit to this artist's exceptional personality and to his particular sense of "delivery" of this repertory. Leotta almost attains to the height of Beethoven's own lofty imagination.In Opus 110, his technical ease allows us to feel a sense of floating on this music. The great opening arpeggios are transformed into caresses that become both intrigued interrogation and appeasing resolution. During the end fugue and the Song of Complaint (Klagender Gesang) contained within it, the musician's mastery of the movement's technical difficulties is such that we can accede to what the Romantics have called Spirit.Science is totally subordinated to intuition. In the Opus 111, Leotta seems a completely other pianist, as if he had been holding himself back during the first part of the recital. The Allegro's energy was actually tangible and its drama as full as one could ever wish. During the Sonata's sublime closing variations, Leotta was irresistible.In the intimate context of Thursday night's setting, this accomplished musician miraculously managed to make us hear this music anew, without leaving us with a sense of hearing just another version of it. While memory is rife with great interpretations of this work, what was offered here not only reaches their level, but also does it with a difference, and without betraying the original intent. While the music fixes time in its series of trills, Leotta manages - once again with impeccable technique - to suspend the race of the seconds until we realize, to our surprise, that we've come to the end of the piece. We leave the concert hall with a sense that in spite of this closure, we are at a new beginning". Leotta: un incroyable opus 111 Claude Gingras, "LA PRESSE", Montréal (Canada), Vendredi 1er nov. 2002 "...Christian Leotta a continué d'affirmer des dons de pianiste, de musicien et d'interprète qui devraient lui assurer éventuellement une grande place dans le monde musical.Hier soir, M. Leotta donnait les trois dernières Sonates qui, avec la Hammerklavier jouée la semaine dernière, constituent le sommet du piano beethovénien. La mise en place des opus 109 et 110 est solide : M.Leotta en comprend la structure, le ton général et le tissu pianistique. Au passage, on admire, entre autres qualités, l'indépendance des deux mains.Voici l'opus 111, cet aboutissement des recherches pianistiques, musicales et philosophiques du compositeur. Ici, la spiritualité dépasse encore celle de la Hammerklavier. Le piano tonne avec fureur mais, en total contraste, devient soudain presque immatériel. Comme les plus grands, mais à 23 ans seulement, Christian Leotta donne un sens à ces interminables successions de triples croches contrepointées de trilles répétés où Beethoven semble dire adieu au piano. On ressent une sorte de douleur devant l'incroyable beauté que le pianiste arrache à l'instrument et c'est avec des larmes aux yeux qu'on l'applaudit de tout cour". TRANSLATION: Leotta: An incredible Opus 111 "...Christian Leotta continues to assert his gifts as pianist, musician and interpreter, gifts that will no doubt eventually assure him of a predominant position in the musical world.Yesterday evening, Mr. Leotta played the three last Sonatas which, taken with the Hammerklavier that he performed last week, constitute the acme of Beethoven's piano work. His setting of the Op. 109 and Op. 110 is solid: Mr. Leotta understands their structure, tone and pianistic texture. Among other qualities, one is impressed by the independence of his two hands.And then there is Opus 111, the attainment of the composer's pianistic, musical and philosophical exploration. Here, the level of spirituality surpasses even that of the Hammerklavier. The piano thunders in furor but then suddenly becomes, in total contrast, almost immaterial. In the manner of the greatest artists, Christian Leotta, in spite of his 23 years, gives meaning to these interminable successions of 32nd notes on a counterpoint of repeated trills, where Beethoven seems to bid adieu to the piano. One experiences a kind of aching at the incredible beauty that the pianist draws from the instrument, and there are tears in our eyes as we applaud him wholeheartedly". Leotta a gagné! Claude Gingras, "LA PRESSE", Montréal (Canada), Samedi 26 octobre 2002 "Des sept récitals que totalise l'intégrale des 32 Sonates de Beethoven offerte par le jeune pianiste italien Christian Leotta, j'avais entendu le deuxième .M. Leotta avait montré . de réelles qualités de pianiste et de musicien. L'occasion de le réécouter se présentait dans un contexte idéal : jeudi soir, il avait programmé comme pièce majeure la plus longue et la plus difficile des 32, la colossale et redoutable Hammerklavier, cet 'Himalaya des sonates ", avec son Allegro initial violemment rythmique (pour citer Messiaen), son extatique mouvement lent monopolisant la moitié des 45 minutes d'audition, et sa délirante fugue finale où les trilles fusent avec une rapidité folle d'une main à l'autre. Je me félicite d'être allé réentendre Christian Leotta. Sa réalisation fidèle et toujours captivante de la plus importante des Sonates de Beethoven permet. de saluer en lui un pianiste de première force-technicien, musicien et interprète tout à la fois. puissance quasi orchestrale et prodigieuse clarté des mouvements rapides. S'inscrivant au milieu de cette effervescence pianistique, le mouvement lent révéla chez ce garçon de 23 ans la continuité de pensée et l'intériorité d'un interprète ayant deux fois cet âge. ". TRANSLATION: Leotta wins! "Of the seven recitals that comprised the playing of Beethoven's complete 32 Sonatas by the young pianist Christian Leotta, I had heard the second. on this occasion, Mr. Leotta had shown true pianistic and musical quality.I had the opportunity of hearing him again, in an ideal context: Thursday night, he had chosen to play, as his major piece, the longest and most difficult of the 32 Sonatas, the colossal and redoubtable Hammerklavier, that "Himalayan Sonata", with its violently rhythmic initial Allegro (to quote Messiaen), its ecstatic slow movement that monopolizes half of the 45 minutes listening time, and its delirious final fugue where the trills fuse with an incredible velocity from one hand into the other. I congratulate myself for having gone back to hear Christian Leotta. His faithful and always captivating rendition of Beethoven's most important Sonata acknowledges him as a pianist of the highest order - technician, musician and interpreter all at once.with an almost orchestral power and prodigious clarity in the rapid movements. Set in this pianistic effervescence, the slow movement revealed an interiority and continuity of thought in this 23-year-old boy worthy of an interpreter twice his age".   La fortuna dell'incoscienza Giorgio Vitali (FAMIGLIA CRISTIANA, Milano, Numero 2, 13 gennaio 2002 )    "Christian Leotta è un pianista del quale sentiremo parlare. A 22 anni sta incidendo l'integrale delle Sonate di Beethoven: un impresa da far tremare i polsi a chiunque...la curiosità spinge subito all'ascolto dell'immortale, apollinea "Waldstein"...una pagina che richiede sapienza, sensibilità, intelligenza e un polso straordinario. Leotta la esegue con piglio deciso, non dimenticando la pesante tradizione settecentesca e classica che incombe. Ma il pianoforte canta e si dispiega quando il sommo genio si abbandona alla poesia...Nel prosieguo della sua carriera avrà modo di ritornare più volte su questa summa (le 32 Sonate). Ma in molti lo seguiranno. Perchè, come dicevamo, di lui si continuerà a parlare".    TRANSLATION: The grace of unconsciousness "Christian Leotta is a pianist who we will hear much spoken about. At 22, he is recording the complete cycle of Beethoven's sonatas, an undertaking to make anyone's wrists tremble ... curiosity leads one to immediately listen to the immortal, Apollinea "Waldstein"… a section that requires knowledge, sensitivity, intelligence and an extraordinary wrist. Leotta carries this through with determined expression, not forgetting the classical eighteenth-century tradition to which it belongs. The piano sings, unfolding the highest of genius, as he abandons himself to the poetry … as his career matures, Christian Leotta will have ample opportunity to return to these heights, over and over again. But many will follow him because, as has already been said, people will continue talking about him". Riccardo Risaliti (CD CLASSICS, Milano - Numero 414, dicembre/gennaio 2001/2002 ) "...A dire la verità, di una nuova integrale delle trentadue sonate non se ne sentirebbe il bisogno, ma di fronte a esecuzioni come queste anche tali verità non andrebbero affermate. Christian Leotta, che si presenta con un curriculum di tutto rispetto, ha già al suo attivo alcune esecuzioni beethoveniane assai convincenti, e non certo di poco peso (tra l'altro le Sonate op. 106 e op. 111)...La sonata op. 2 n.3 è condotta con tempi giudiziosi, brillantemente ma senza spingere verso vertigini virtuosistiche il finale, come spesso succede: sommesso e intimistico il movimento lento, che è già uno dei primi grandi adagi beethoveniani...Molto spinto in avanti è poi l'Allegro con brio della Waldstein, ma tecnicamente e ritmicamente ben dominato. Perfetta la "colorazione" pianistica (e la pedalizzazione originale) dell'Allegretto finale. Commento tecnico: il pianoforte è chiarissimo, ben dettagliato e ben dinamizzato in tutta la gamma". TRANSLATION: "...To be honest, another recording of the 32 sonatas was not held to be a particular necessity, but in view of these performances, one can no longer say that this is so. Christian Leotta, who has presented himself with a very admirable curriculum, has already to his credit some very fine Beethoven performances, and these are not surely of little importance (including the piano sonatas op. 106 and op. 111). The sonata op. 2 no. 3 was conducted brilliantly, with judicious timing, but without pushing the finale towards virtuoso heights of dizziness, as often happens: the slow movement, soft and intimate, which is already one of the great Beethoven's adagios ... very forward moving and then the Allegro con brio of Waldstein, both technically and rhythmically well dominated. Perfect piano "colouring" (and the original use of the pedal) of the final Allegretto. Technical comment: the piano is bright and well detailed and dynamic in all its ranges". Nicoletta Sguben (AMADEUS, Milano - Numero 11, Novembre 2001) "Christian Leotta, in questa registrazione di Sonate beethoveniane…evidenzia una particolare attenzione ai diversi climi poetici che si susseguono all'interno di ciascun lavoro.Il che è notevole oltre che interessante…". TRANSLATION: "Christian Leotta, in this recording of Beethoven Sonatas... displays a particular attention to the different poetic climates that follow one another within each work. Which is noteworthy as well as being interesting ...". Sandro Neri (CORRIERE DEL TICINO, Lugano - Numero 28, settimana dal 14 al 20 luglio 2001) "Christian Leotta, giovane pianista italiano che sta facendo una carriera internazionale decisamene significativa, si cimenta in questo CD in un programma interamente dedicato a Beethoven...Leotta, nelle due grandi sonate op. 2 n. 3 e op. 53 "Waldstein", dimostra, oltre che capacità tecniche di prim'ordine, indubbie qualità musicali e interpretative". TRANSLATION: "Christian Leotta, the young Italian pianist who is building a decisively important, international career for himself, ventured to play an entire programme dedicated to Beethoven in this CD … Leotta, in the two great sonatas op. 2 no. 3 and op. 53 "Waldstein", displayed his first-class technique as well as his undoubted musical and performance qualities". El debut de un joven talento Héctor Coda (LA NACION, Buenos Aires, miércoles 11 de julio de 2001 ) "...en el Museo Isaac Fernandéz Blanco, se acaba de producir un hecho de singular trascendencia: el debut del joven pianista italiano Christian Leotta...cuya juventud no radica en sus veintidós años, sino en la cualidad de su espíritu que torna asequibles tan elevades metas artísticas como las que se propuso. No de otra manera hubiera podido surgir de sus dedos la Chacona de Bach, en arreglo de Ferruccio Busoni, con fervor inusitado, recreando una potencialidad tonal y armónica en el instrumento, cuya monumentalidad, verdadero epítome del estilo barocco, Leotta recreó con gran claridad discursiva y conceptual. Se pudo escuchar así una verdadera catedral sonora... Lo che siguió, la gigantesca Sonata Op. 106 ("Hammerklavier"), es unas de las cumbres de la obra pianística de Beethoven...aún hoy sigue siendo patrimonio espiritual de muy pocos ejecutantes, entre los cuales Leotta, sin duda, se encuentra, y por lo cual su nombre deberáser tenido especialmente en cuenta... La visita de Christian Leotta constituye, por ello, fuera de toda duda, uno de los puntos salientes de la presente temporada musical en Buenos Aires". TRANSLATION: Young talent makes debut "…an event of singular importance has just taken place in the Isaac Fernandéz Blanco Museum - the debut of the young Italian pianist, Christian Leotta …whose youth does not lie in his being only twenty-two, but in the quality of his spirit that makes artistic goals reachable that are as high as that he set himself. If this were not the case, Bach's "Chaconne" could not have flowed from his fingers, using the arrangement by Ferruccio Busoni with uncommon fervour, recreating this instrument's tonal and harmonic potential, producing a veritable compendium of the Baroque style, the monumentality of which Leotta recreated with great discursive and conceptual clarity. Thus we were able to listen to a real cathedral of sound … What followed, the impressive Sonata Op. 106 ("Hammerklavier"), is one of the highpoints of Beethoven's piano work … still the spiritual heritage of only a few musicians, one of whom is certainly Leotta, which is why his name should be given special consideration … This is why Christian Leotta's visit undoubtedly represents one of the highpoints of the current musical season in Buenos Aires". Wildner wurdigt die PH Patrick Musial ( RECKLINGHAUSEN ZEITUNG, Recklinghausen, 5. März 2001) "...im Klavierkonzert in Es-Dur (KV 482) von Wolfgang Amadeus Mozart sich der Klangkörper schwungvoll und dynamisch und mit dem Sizilianer Christian Leotta am Flügel einen hoffnungsvollen Nachwuchsstar präsentierte". TRANSLATION: Wildner honours the Philharmonia Hungarica "... in W. A. Mozart's Piano Concerto K 482 in E flat major, Christian Leotta dynamically and with great impetus expressed the sound structure, proving himself to be one of the most promising stars of the new generation". Jede Menge musikalischer Genuss neben erzahlter Historie Mo ( WESTFALLEN ALLGEMAINE ZEITUNG, Recklinghausen, 5. März 2001 ) "Christian Leotta... brachte Glanz und Trasparenz in das Klavierkonzert Es-Dur, KV 482. Der junge Pianist erwies sich dabei als sensibler Interpret des virtuosen Werks." TRANSLATION: Audience enjoys delightful music together with narrated history "In W. A. Mozart's Concerto K 482 for piano and orchestra, Christian Leotta expressed brightness and transparency. The young pianist has shown himself as being a sensitive performer of this great masterpiece". Furioses Klavierspiel eines jungen Lowed Walter Schroder-Limmer (WOLFSBURG NACHRICHTEN, Wolfsburg - Freitag, 2. März 2001) "...Mit "Légende St. Francois d'Assise" und "Legende de St. Francois de Paule marchant sur le flots" hatte Franz Liszt seine Stückebetitelt, und Christian Leotta gelang es eindrucksvoll und facettenreich, von leisesten Pianissimo bis zum explosiven Fortissimo...". TRANSLATION: Young lion's impetuous playing "... With the "Legend of St. Francis from Assisi talking to the birds" and the "Legend of St. Francis of Paola walking on the sea" Christian Leotta expressed himself in the most impressive of ways through richly faceted sounds, ranging from a barely perceptible Pianissimo to an explosive Fortissimo…". Akkordgewitter und Nachdenklichkeit Claudia Muller ( KIELER NACHRICHTEN, Kiel, Mittwoch, 28. Februar 2001 ) "...Bach unter dem Uberzug der großen Virtuosen-hand bot für Leotta keinerlei Schwierigkeit, vielmehr schien er manchmal im (allzu) pedal gebundenen Akkordgewitter es sogar zu bedauern, nicht den Kosmos einer großen Kirchenorgel zur Verfügung zu haben....In der Légende de St. Francois La préication aux oiseaux (Des Heiligen Franziskus Vogelpredigt),... Zunächst setzte Leotta seine perlenfeine Piano-technik ins beste Licht...". TRANSLATION: Outburst of chords and meditation "...Bach, under Busoni's great virtuoso cover, presented not the slightest difficulty to Leotta who, was often very brilliant with a marked legato pedal into the thundering of chords, that he need not fear comparison with even the powerful sound of the greatest church organ … Leotta's technique, in the Legend "St Francis of Assisi talking to the birds" (by F. Liszt), shone through in great light…". Markig tönt der Bass Helmut Peters (DIE WELT, Hamburg - Dienstag, 27. Februar 2001) "...Der 22-jährige, mehrfach ausgezeichnete Pianist steht am Beginn einer viel versprechenden Karriere. Als Einstieg wählte er Bachs Chaconne aus der Violinpartita BWV 1004 in der Bearbeitung von Ferruccio Busoni. Ein monumentales Stück. Mit großer Sorgfalt arbeitet Leotta die Stimmen heraus und schafft Steigerungen in weiten Bögen...Am Ende des Konzerts stand Beethovens sperrige letzte Klaviersonate c-Moll op. 111...Die Arietta gestaltet Leotta klangintensiv, ruhig und in sich versunchen". TRANSLATION: Energy lends colour to the bass "...The 22 year old pianist, who has received several awards to date, is at the beginning of a brilliant career. He chose to start the concert with Ferruccio Busoni's transcription of the Violin Partita BWV 1004 by Bach. A monumental piece. With great care, Leotta deeply penetrated into the sounds and such were the nuances of colour that arches were formed … to conclude the concert, Beethoven's complex last sonata op. 111 in c minor was performed and Leotta, plunging into his deepest inner-self, shaped Arietta's theme with exquisite depth".