vendredi, 25 mars 2022 - 19:00

By Roberto Calabretto

Tickets on sale online from Monday, March 14, 2022.


An exceptional performer and distinguished teacher, far-sighted talent scout and inspired artistic director, writer and editor for musical publications: Boris Berman’s eclectic personality can be described as the epitome of the complete musician. Born in Moscow, he studied at the city’s Tchaikovsky Conservatory under-celebrated pianist Lev Oborin. In 1973, he left a flourishing career in the Soviet Union and emigrated to Israel, before moving permanently to the United States. Also busy in the chamber-music world, he has appeared alongside eminent colleagues such as Misha Maisky, Shlomo Mintz, Natalia Gutman and the Tokyo Quartet, to name but a few. He has taught at leading American universities and currently heads the piano department at the Yale School of Music, as well as being honorary professor at the Shanghai Conservatory and the Royal Danish Conservatory in Copenhagen. In 2017, he received the title of “Specially-Appointed Professor” from Beijing’s China Conservatory of Music. He is regularly invited to judge at prominent international competitions and holds masterclasses around the globe. His impressive discography most notably includes the complete piano sonatas of Alexander Scriabin and an ambitious project featuring the complete piano music of Prokofiev.

Artista dall’impeccabile smalto tecnico e musicista di grande raffinatezza e gusto, Berman è impegnato nell’instancabile ricerca di quell’integrità stilistica che conferisce a ciascun compositore il proprio spazio estetico. Senza dubbio, dedica la sua invidiabile tecnica ad esprimere ogni  dettaglio.
Boston Globe


JOHANNES BRAHMS (Amburgo, 1833 – Vienna, 1897)

Dai 5 Studi:
n. 5: Ciaccona dalla Partita in re minore BWV1004
di Johann Sebastian Bach (trascrizione per la sola mano sinistra)

11 Variazioni su un tema originale
in re maggiore, op. 21 n. 1

13 Variazioni su un tema ungherese
in re maggiore, op. 21 n. 2

Tema e Variazioni in re minore
dal Sestetto d’Archi, op. 18b