Prokofiev, Nahuel Di Pierro, Our Girl, Father John Misty, Grand Turn, Eddie 9V

• Prokofiev
  Invasion
  6^my and 7^my Sonatas, Sarcasms. Sergei Redkin (piano).

Winner of important international competitions, pianist Sergei Redkin has not yet obtained, at 31 years old, the recognition that his ability to renew the perception of some of the most performed works in the repertoire, such as the sonatas called “war” composed by Serge Prokofiev in the early 1940s. 6^my It opens with a keyboard stroke with hands that fall like bombs before freeing from the harmonic debris a line on which the pianist advances like a tightrope walker. Sergei Redkin is very personal. His blows are thrown with power but without brutality. His counterpart, murky and unreal, is never vague. The key to its interpretation, magnified in the “Finale”, consists of overcoming the contrasts by placing each element in the same perspective. More human than Sviatoslav Richter (creator of this extensive page), more sober than Glenn Gould, Sergei Redkin recalls Maurizio Pollini for his elegant fluidity, but seems truly unique in his presentation of a homogeneous and nuanced Prokofiev. Pierre Gervasoni

• Nahuel Di Pierro
  Fra l’ombre et gl’orrori
  Works by Michelangelo Rossi, Claudio Monteverdi, Francesco Cavalli, Antonio Sartorio, Marc’Antonio Zani, Antonio Giannettini, Giovanni Battista Bononcini, Georg Friedrich Handel, Alessandro Scarlatti, Antonio Vivaldi. Nahuel Di Pierro (bass), Ensemble Diderot, Johannes Pramsohler (violin and direction).

Dedicated to the Italian Baroque repertoire for bass voice, this recital reminds us that this vocal category, usually assigned to authoritative figures of father, sovereign or god, has never participated in the extravagances surrounding the starification of castrati. This does not prevent the abundance of products, as demonstrated by a magnificently dramatically arranged program that offers an exciting batch of well-known, rarities and unpublished pieces. By turns authoritarian and overwhelming, expressive and imprecatory, tender, desperate, Nahuel Di Pierro develops a perfect balance between mastery and emotion, overcoming technical difficulties (dizzying voices, vertiginous jumps, wide ambitus) and ingeniously deploying his generous and impressive legato abyssal bass. Together with the Argentine singer, the Ensemble Diderot and its director and first violinist, Johannes Pramsohler, all fiery and delicate, prove to be first-class companions. Marie-Aude Roux

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