2009
Mountain-Peak Tour with a View
Vladimir Stoupel with the Tchaikovsky Concerto in Kassel
Hessische Allgemeine, 19 November 2009
There is a trend toward standardization when it comes to the most well-known classical hits. That which everybody knows has to sound the same each time. But it often gets exciting then when someone offers his own individual version.
In Vladimir Stoupel’s interpretation, Tchaikovsky’s famous B-Minor Piano Concerto not only had its own sonority. On the forty-minute musical mountain tour, the forty-seven-year-old Berlin-based Russian with French citizenship took advantage of every liberty to linger, to enjoy the atmosphere, to then quicken the pace again in order to storm the peak at the end in a quick tempo.
Stoupel played the heavy chordal towers at the beginning with forward-pressing élan, yet in the lyrical passages he slowed the tempo and let the various episodes pass by in complete serenity, almost coming to a standstill – but without forfeiting tension because of it.
Stouple did not emphasize virtuoso brilliance in this first movement. Unusual, however, was the tonal sensitivity with which he differentiated the rhythmical levels of the piano writing.
The second movement began extremely slow. Here, too, Stoupel discovered tonal fields over which many pianists pass over without regard, and provided for strong contrasts in the prestissimo passages.
Only in the finale did Stoupel really get down to it with his virtuoso hands, and the octave cascades at the end came out as if chiseled in stone. For the thunderous applause in the sold-out Stadthalle, the soloíst reciprocated with the Autumn Song from Tchaikowvsky’s Seasons cycle, op. 37, which he played delightfully dreamy with nearly magical pianissimo colors.
Journey to Pianistic Dreamworlds
Vladimir Stoupel’s Outstanding Piano Recital at the Kassel Musiktagen
Hessische Allgemeine, 12 November 2009
The concert with the Russian pianist Vladimir Stoupel, who is known for his “well-composed” programs, set a mark that colleagues who follow him will find difficult to surpass. Russian piano school: yes. Demigod of the keyboard: no. One can reduce Stoupel’s playing to this simplified formula.
Framed by two works by Felix Mendelssohn, who, as is known, came from a Jewish family, were two other Jewish composers from the twentieth century and, as a premiere, five short pieces from a seasons cycle by Russian composer Olga Rajewa, who was in attendance. Stoupel played Karol Rathaus’s Third Sonata and Erwin Schulhoff’s Third Suite for the left hand, both extremely complicated structures. At the beginning and end, however, stood Mendelssohn, whose piano works have always been a bit overshadowed by his symphonies, oratorios, and chamber music.
The pianist chose the Fantasia in F-sharp Minor, op. 28, and the Variations sérieuses, both highly virtuoso creations. It was interesting to observe how differently he approached the two works: the Fantasia with full intensity, reminiscent of Liszt, the Variations clearly more reserved and transparent.
In the one as well as in the other, Stoupel immersed himself in this music, became completely engrossed in it, breathed with it, and emerged again, shortly catching his breath and only gradually regaining a smile, from the dreamlike self-absorption of his playing. An outstanding evening.
Caustic Fairy-Tale Humor
Review by Tobias Roth
Klassik.com, September 2009
"The music theater events in the Werner Otto Hall of Berlin’s Konzerthaus time and again risk highly interesting experiments; with novelties, rarities, and unusual formats. A small but important work by Shostakovich was offered at one such event this September, namely The Tale of the Priest and his Workman Balda, op. 36. This tale is a thoroughly ironic music that was at all times able to stretch its grin into a sarcastic grimace; the garish, corrupted workaday music characterizes the grotesque figures of the farce. The music, in a version for chamber ensemble, was directed by the conductor and pianist Vladimir Stoupel. The score, conceived for a large orchestra, was thus adapted to the room and able to make an effect there. The nuances of the colors and the vivid narrative tone of the music were shown to best advantage: the music appeared very close to the ear, and thus highlighted the garish effects."
Shadow Play: A Mini-Opera by Shostakovich in the Konzerthaus
Tagesspiegel Berlin, September 2009
"The sparse iconography always allowed space, above all for the music. The singers of the Linden Quintet and the Modern Art Ensemble under the direction of Vladimir Stoupel filled this space judiciously. If Shostakovich’s music perverts folkloristic models in order to criticize social norms, it does not sound ostentatious in Stoupel’s interpretation, but rather like a subtle jibe under the cloak of musical convention."
Morgunblaðið, Iceland
May 2009
Reykjavik Arts Festival
“The Reykjavik Chamber Orchestra played exceptionally well under the confident leadership of Vladimir Stoupel.”
HIFI & MUSIK, STOCKHOLM (SWEDEN)
January 2009
ALEXANDER SCRIABIN: The Complete Piano Sonatas
“The high quality company Audite has managed to get all piano sonatas by Skrjabin on 3 CDs.To listen to this new created and heavenly music is like to discover an unknown world. I, myself, have almost never been happy with pianists playing Skrjabin but Vladimír Stoupel makes me very satisfied. With his intensity and feelings he succeeded to show what a great music it is.”