Biography
Argentine pianist Ingrid Fliter has won the admiration and hearts of audiences around the world for her passionate yet thoughtful and sensitive music making played with an effortless technique. Winner of the 2006 Gilmore Artist Award, one of only a handful of pianists and the only woman to have received this honor, Ms. Fliter divides her time between North America and Europe.
In Europe, Ms. Fliter has performed with orchestras and in recital in Amsterdam, London, Berlin, Frankfurt, Salzburg and Cologne, and participated in festivals such as La Roque D’Antheron and the Prague Autumn Festival. Recent European engagements include appearances with the Monte Carlo, Osaka, Helsinki and Royal Stockholm Philharmonics; the Philharmonia, Royal Philharmonic Orchestra, BBC Symphony and the Proms in London; the Danish Radio Symphony Orchestra and Swedish Chamber Orchestra; and recitals in Paris, Barcelona, Milan, Prague, Stockholm, Lisbon, and in London at both Wigmore Hall and Queen Elizabeth Hall.
In Asia Ingrid has performed with the Israel and Osaka Philharmonics, at the World Pianist Series in Tokyo, the International Piano Series in Singapore and has made numerous trips to Hong Kong, Australia and New Zealand.
Read moreReviews
“The Argentine Ingrid Fliter whose touch in the middle movement [of Beethoven’s Piano sonata No. 8, ‘Pathetique’, Op 13] is daringly dreamy.”
“5 Stars
…on this occasion the evening began with Mozart’s enchanting piano concerto, played by RSNO favourite Ingrid Fliter. It was a joy both to listen to and – indeed – to watch, as the pianist’s hands glided with seemingly effortless precision through the three movements; the sections unaccompanied by the orchestra were especially mesmerising. Many of Fliter’s recordings have focused on the repertoire of Chopin, and so it was a treat to hear her play one of his works as the encore.
After the Mozart had washed over us in its exquisite beauty, the Mahler masterpiece was performed following the Interval.”
“The marvellous Ingrid Fliter matched that tone with piano playing as sweet as a glass of condensed milk, and the acidic tinge of the slow movement never lost its beauty, matching seriousness with serenity. Her encore gave us as mellifluous a reading of a Chopin Nocturne as you’ll ever hear.”
Fliter brought explosive energy to the keyboard in the concerto, shooting up from the bench at the end of certain phrases. In the relaxed second movement, the violas, cellos, and basses unrolled a warm, enveloping melody with a nostalgic bent. Fliter dusted it with silvery figures, making for a gossamer halo effect, then led a joyous scamper through the high-flying finale. Throughout, Sung shaped the orchestra with subtle elan. As an encore, Fliter had Chopin’s Nocturne No. 8 in D-flat major, to which she carried over much of the concerto’s final breathless energy.
More Reviews
“One of the most instinctive and eloquent Chopin interpreters playing today.”
“Ingrid Fliter was born to play Chopin… she gives truly wondrous performances of the two piano concertos.
“Power, delicacy, refinement and passion are all there in these two concertos… Fliter has a natural, utterly compelling feel and flair for this music, its suppleness of pulse, its glow, its sparkle, its touching fragility and its forceful impetus.
“In all respects, a remarkable disc.”
Daily Telegraph, 5*, March 2014
“The solo playing is exquisite, liquidly expressive in the slow movements, firm-toned but dance-like and deliciously pliable in the faster ones. […] Chopin with attitude and integrity.”
Scotsman, March 2014
“It’s a breath-taking performance. The orchestra’s subtle and sensitive playing perfectly accompany Fliter’s strongly expressive interpretation, which is at turns lyrical and powerful.”
Classic FM, February 2014
“This is very much Chopin playing in the great tradition: rich-toned, generous though never profligate with its rubato, and invested with a vast range of keyboard colour. It’s all put together meticulously too – there’s great subtlety in the way Fliter shapes the slow movements of both concertos.”
The Guardian, February 2014
“a mesmerising set of Preludes”
(Gramophone)
“…the five Mazurkas and 2 Nocturnes are so outstanding that I would recommend this disc for them alone.”
International Record Review, October 2014
“We have spent our 73 minutes with a natural disciple of the Chopin style, fluent and imaginatively informed at every measure.” Audiophile Audition, January 2015
“ [Fliter] has that magical way of creating an easeful rubato without ever sounding studied, and holds Classicism and freedom in perfect accord. Add to that a clarity of vision and a tremendous sense of purpose and you have a mesmerising set of Preludes… She is a virtuoso of the first order but she holds this in reserve, so when she does unleash her full technical armoury, it’s extraordinarily potent.”
Gramophone Magazine, Recording of the Month, Top 10 Chopin Recordings, November 2014
“Fliter understands these pieces from the inside. You can hear from her playing not only that she adores the music but also that she appreciates the characteristics, the sentiments, the ideas that Chopin was distilling in these jewel-like creations… Fliter crystallises the moods precisely, neither over-emphasising the emotion nor short-changing the music.”
The Daily Telegraph, November 2014
“[Fliter] brings a powerful and individual voice to the Preludes. The first feature that stands out is her tone quality: forthright, with warm and singing legato… it makes for a rewarding and absorbing listen.”
BBC Music Magazine, November 2014
“As always with her Chopin, the rewards are great. Playing of real charm, insight and subtlety”.
BBC Radio 3 CD Review, October 2014
“The 24 Preludes of Op. 28 roll by with the sensitivity that is always Fliter’s hallmark”.
The Times, October 2014
“…a torrential account of the B flat minor prelude, as exciting as any I’ve ever heard, and a fiercely dramatic one of the F minor, both performances that get well rewarded for the risks they take. Fliter fans certainly won’t be disappointed.”
The Guardian, October 2014
“Fliter plays with such grace and heartfelt sincerity… by whatever magical means, [she] touches the heart.”
Gramophone
