What made Alberto Reyes's piano recital ...so exciting was the Uruguayan pianist's way of capturing each work's essence - the quality of its nervous energy, its musical fingerprint - and his ability to transform it into something like a living organism
Reyes's full-bodied, colourful sonority, effortless technical apparatus, keen contrapuntal prowess and innate grasp of Schumann's mercurial idiom do rewarding justice to these oft-recorded works.
deeply personal, imaginative, straight from the heart, and reminiscent of the grand manner of a bygone era.
Here's a fascinating and extremely beautiful Chopin recital from a pianist of whom we've heard little in the past decades. Uruguayan born Alberto Reyes presents both the big sonatas and some substantial shorter pieces in accounts that are unusual, personal and deeply rewarding.
His ability to breathe new life into these works is his strength. It is hearing the freshness of youth coupled with the experience of life that so impresses here. It also makes him rather difficult to classify for comparison purposes. Sometimes Bolet springs to mind in the combination of freedom with a mastery of multiple voicing, but Reyes occupies, in essence, a space all of his own.
Alberto Reyes raised a surprising arch of passion in a work that made the most sustained technical demands, Prokofiev's Concerto No. 2 in G minor. It was a job of high prowess, showing supple responsiveness to Prokofiev's lyricism and a highly intelligent grasp of the internal balances.
Recorded at Menuhin Hall, Stoke D'Abernon, England. Simon Weir, Director Jon Lee, Producer Morgan Roberts, Engineer