Press clippings


Enrica Ciccarelli plays with security, poise and limpid elegance – American Record Guide

A soloist full of temperament – Uhlig Pforzheim Zeitung

A sensitive and assured pianist – Amadeus

The exquisite “Soirée Chopin” [that took place] last sunday at the Auditorium Oratorio in Cernobbio featured the performances of pianist Enrica Ciccarelli and the ensamble “The Milan Players” (…)
Enrica Ciccarelli embarked in a sublime crescendo, that reached its climax with the “Ballad op 23”. Her performance differed in many regards from the customary educational approach, her phrasing limpid and fluid, with ritardandos that were sometimes personal, but flawlessly in keeping with the composer’s style and sensibility. Everything was shown in impeccable detail: the audacious harmony, the softened sounds, the furious rushing of the quavers, the internal anguish, the alternating right-hand and left-hand arpeggios (Scherzo); the fiery rhythm strewn with ample chords, the right hand tracing the melody with its manifold flourishes (Polonaise), the monumental, passionate lyric, brimful of sorrowful melancholy (Ballad) in which Enrica excelled, turning it into an autobiographical experience (as her intense expression showed). The second part of the evening included the “Concerto n 1 op 11 for piano and orchestra” in an unusual chamber version for piano and string quintet. Enrica gave a magnificent virtuoso performance, fervently melodic, highly poetic and poignantly expressive, often dreamy. – Alberto Cima  La Provincia – February 2015

Mozart wrote 27 piano concertos, but only two of them, one of which is the Piano Concerto No.24 in C minor, were written in a minor key. He composed the C-minor concerto while working simultaneously on his irrepressibly effervescent opera, The Marriage of Figaro. Many musicologists as well as music critics have made the observation that it seemed like Mozart had to occasionally vent his need to compose music in the darker, minor mode throughout his career. The often brooding nature of the music of this concerto contrasts vividly with that of Figaro, where the minor mode is very sparingly employed. Ciccarelli offered a memorably nuanced performance of another minor-key concerto, that of Edvard Grieg, when she performed in this series back in 2008, so her upcoming performance of the Mozart concerto is eagerly anticipated. – ArtVoice Buffalo, January 2014

Enrica Ciccarelli… [is] a remarkably gifted musician of remarkable artistic talent, matching an instinctive mastery of her instrument with a wholehearted commitment to the spirit of the score, in constant, perfect harmony with her partner. – La Gazzetta Di Bari, February 2016 [Concert with Edoardo Zosi]

…Italian pianist Enrica Ciccarelli […] has been traveling the world and playing with renowned conductors and orchestras for twenty years. On top of that there was a rarity: The Concerto in A minor by Schumann. No, not the famous Robert, but that of his wife, Clara (1819-1896). She completed it in 16 years when her pianistic career had already bloomed. Her compositional achievements, however, were mostly ignored, since, as a critic put it, “we are dealing with the work of a Lady”. The youthful […] Concerto in A minor is a prime example of a well-intentioned virtuosity with many powerful octave and chordal passages, runs and jumps. Enrica Cicarelli took the romantic edge off it, stressing its pathetic character instead, making it straightforward and with a concise stop. Her encore, the Sonata in C Major by Domenico Scarlatti (K.159), was played with many pristine ornaments and relentless tension. – NW-News Herford December 2013

Italian pianist Enrica Ciccarelli lit the fire of virtuosism in the technically complex passages of the soundtrack for the Fellini film “Eight and a half”. Warm applause [followed], and then encores by Scarlatti and Scriabin. – “Nurnberger Zeitung” – November 2013

…. Nino Rota’s piano “Concerto Soirée”. Enrica Ciccarelli was specially brought from Italy these five virtuoso pieces: the right woman for this mixture of bar music, sharp chord contrasts, dreamy “stars and baubles” sequences and spectacular dexterity. All this she tackled employing her cool technique, being clearly a specialist in this genre that is halfway between a film and a concert. For Rota also wrote most of the music to Fellini’s films, and somehow one was always reminded of “La Dolce Vita”. […] – UWE Mitsching – “Nurnberger night Align ‘November 2013

Two sides of piano-playing, two collections of remarkable compositional complexity and one distinguished artist, Enrica Ciccarelli, who recently released the three-CD box-set A Portrait, containing a powerful and vivid performance of four concerts by Wolfgang Amadeus Mozart and three sonatas spanning from the XVIII century and the Romantic period (by Beethoven, Weber and Schubert), Kreisleriana by Robert Schumann and Pictures at an Exhibition by Modest Musorgskij. The performer herself, in the booklet accompanying the CD Visioni, traces links [between these pieces of music]. Such link is well explained by the title, despite the fact that the first [of the compositions] is more concerned with [the composer’s] private dreams and hallucinations, while the second relates to stories and images whose setting can be traced accurately. The most remarkable performance is that of Kreisleriana: powerful, bright and thoughtful at the same time, Enrica Ciccarelli excels in these eight fantasias, particularly in the capricious staccatos, the bubbling arpeggios and the virtuoso passages. […] – Claudia Abbiati – Amadeus

Thanks to her empathic virtuosity [Enrica Ciccarelli] had the audience right under her spell with Nino Rota’s “Concerto Soirée”. This composition was not originally created for the movies, but the mix of great pathos and fragile delicacy had its effect […]. The crowd was enthusiastic and cheered and applauded the Italian artist, calling her back on stage again and again. She obliged with an encore – From TILMANN P. Gangloff – May 28, 2013