This is for me a great consert ricording with Christina Ortiz in brilliant form. We shuld have more recordings from this Lady. She playes with musical power and use her body and smile…very good
After studying many versions, I recommended this particular one with Cristina Ortiz, soloist, to my music teacher group. I loved her flamboyance and her controlled exuberance. I truly experienced her joy as she performed this music!
One of the best interpretations of any piano concerto I've ever heard. The pace is perfect, because you can hear all the notes completely--especially given the nimble brilliance of Ortiz.
Cristina breathes her soul in to this glorious music, particularly the slow movement. The touch of an angel. She captured my heart at a performance of Ravel’s piano concerto performed in Altea, Spain, many years ago.
An interpreter must find his(her) way through a work. Sometimes he fails, but sometimes he succeeds in nailing it perfectly, as is the case here: a wonderful, sublimely lyrical rendering. Cristina nailed it here so successfully that it changes our vision and perception of this work of art. Bravo Cristina! 🌹💥👍😀🌹🌹🌹🌹🌹
😅wonderful performance, sparkling precision, passion and clarity delivered with such zeal and assurance. My favourite interpretation of this piece.....the slow movement's performance is from "heaven"" with taught sensitive phrasing and melodic expression. Music of the gods, played by a goddess!
Cristina Ortiz was here in town once and played all 5 Beethoven concertos in 2 days. I will always remember that. Her playing is full of life, joy, colors... I love her! This vid is also stunning, she nailed it! Brava!!
I cannot believe I am listening to this work for the third time tonight - first on radio, then the Bernstein version on TH-cam and now this sublime version played sublimely by Cristina Ortiz, especially the Andante. Thank you.
I can listen to this over and over again! Christina Ortiz has a special apparition! Her interpretation is brilliant and co-artistic! She plays as if she herself has written the music! I adore her and her playing - she is unique!
Such clarity! This has been my favorite concerto for quite a while, but I am hearing and appreciating the counterpoint sections like never before. Thank you, Cristina Ortiz!
She owns this concerto as everyone who heard her with Bernstein ! Geese this long neo-classical exposition . So charming here! The playing is so characterful I didn't recognize the pianist I heard before this playing the same music .OPerfect attacks and the music is what its meant to be . Other young woman might have won a competition but maybe the conservatory orchestra was a problem too. Ortiz is fantastic , a powerhouse and her sound has color . There is nothing she can't do . Her imagination made this not programmed much work really shine !
I do agree with all compliments over her. Indeed. We both share the same home town. Once I met her, and she was surprised that I could recognise her ...
She seems like a very humble person... If you ever happen to meet her again, please tell her my admiration for me. I've heard lots and lots of pianists but she has a very special musicality to her. Thank you
Sod the fact that the timing might not be to some peoples´ liking - as far as I am concerned Cristina nails the piece! And I bet that Shostakovich would approve if he were to listen to this. I have rarely heard both hands being as distinctly separate as in her playing, especially the the second movement, but in totally in concert. Magic!
Apt question, Kathie. I guess it is another mystery of life; most are busy at distractions, while missing out on the attractions. The 2nd movement has always been a favourite ( like a daily anthem 🙂), and it took a chance viewing of the ' fantasia ' series, to link all the three movements. I saw the performance ( based on a recommendation of someone on this video) a few days ago in Leicester. Valentina Lisitsa's interpretation was faster though, but with music, each artist is unique.👍
There have been some comments about the fact that Ortiz does not play this work at "full tempo." I would say that playing it at "full tempo" is enormously challenging and even painful. Just because a pianist does not choose to damage their hands should not make this an issue. That aside, playing it at a reduced speed allows us to actually HEAR the key changes in the wonderful scale passages which at full temp go completely unheard. Then there is the issue of the sostenuto pedal which she uses "freely" in the work. If you are a "percussion person" you want to hear this work without sostenuto pedal, except of course for the 2nd Movement, which is arguably the most beautiful concerto movement written in the Twentieth Century. Using the sostenuto will make the work more "romantic" and less exciting. However, the plus side of this is that despite her sostenuto pedal, the work was played with excellent clarity of passagework. No shortcuts were taken. She plays every note. I think there is ROOM for a more romantic Shostakovich 2nd. Ortiz makes an excellent case for it. As further argument, if you need one, try to listen to the 2nd Movement without crying. I always cry. When I was at Shostakovich's grave site in Russia, I put a pebble on his headstone and thanked him for what he gave to all of us. Sanjosemike (no longer in CA)
El interprete debe buscar su camino en la obra; a veces se equivoca, pero otras acierta totalmente, como aki ocurre: una versión lirica y sublime del concierto. Bravo Cristina!! 👍💥🌹🌹🌹🌹🌹
Gloriously not at speed. Classical music has been contaminated with manic speed since around the end of the 18th century. Classical music needs this human quality that lightning speeds lack (for the true ennoblement of the artist and society, and not for the usual snobbery and obscurantism). Yes, I’m disparaging Shostakovichk’s and others’ aesthetics, if their MM markings mean what we think and he thought they mean. Many theorists whined about this speed madness in the 19th century. And it’s only grown and when it wanes, it’s seen as an interesting anomaly, and not like a return to common-sense-, heartbeat- and tempo ordinario- guided music, because of our sad and lacking historical music education in conservatories which supposedly serve to conserve noble traditions.
Are we sure, for example, that the Chopin we hear today, is the one he himself intended? If attention to detail is so appreciated, if rushing is easily identified, what is a better artist: one who pays attention to detail, or one who does not? What would they be competing for?
@@gatofelixriodejaneir you’re right. But not only of performance, but of the audience leaving the concert hall too. I am confident in the capability of this classical music to truly speak to more people. With this culture of harshness and speed, people cannot take a noble message from it and simply run away. Demand and offer. If I can’t hear the subjects in a Bach fugue, why would I trust that the artist is a good one? Is common sense too pedestrian for musicians or music authorities?
Wasn't it Oscar Wilde who wrote (In the Importance of Being Earnest) "I don't play accurately--any one can play accurately--but I play with wonderful expression"? - well, this performance is like the polar opposite of this - plays all the right notes with absolutely zero expression. Sibelius software MIDI playback has more expression.
What a perverse opinion, and not a worthy one. I am very familiar with this work both from live and recorded performances this is very fine performance imbued with expression.
Cristina Ortiz doesn't play with expression? Dude you should meet her one day and make some lessons with her because her musicality comes out her pores. She can make a rock sing.
@Konstantin Ridaya I agree - there is absolutely a limit - and that is the very nature of fidelity to the score and the composer's prescriptions (heavily researched over the past decade). Deviations from such can be expressive - too much, and they render the performance inauthentic - that's the balance all of us as musicians must master - deviations in Chopin is welcome; Stravinsky - not at all. All three movements lend themselves to much more creative and expressive departures from the score than Ortiz offers - that's my opinion, and that is what I personally like in both music and musicianship - a careful balancing act away from authenticity and towards performativity. I do deserve better than this - had I paid for a ticket to that concert. Paying to listen to this when I could hear better from a final year undergrad - now THAT would be foolish.
This is for me a great consert ricording with Christina Ortiz in brilliant form. We shuld have more recordings from this Lady. She playes with musical power and use her body and smile…very good
Glorious!
I love the choice of tempi for each movement
After studying many versions, I recommended this particular one with Cristina Ortiz, soloist, to my music teacher group. I loved her flamboyance and her controlled exuberance. I truly experienced her joy as she performed this music!
One of the best interpretations of any piano concerto I've ever heard. The pace is perfect, because you can hear all the notes completely--especially given the nimble brilliance of Ortiz.
That first movement was crystal clear. So enjoyable!
I'd never heard of this pianist before, but right from the first moment she started playing I knew she'd be excellent.
Sorry but then you should learn more about great pianists! She won Van Cliburn gold medal in 1969 and is one of the best living pianists!
in a thousand years there will be no better interpreter of this piece than Christina Ortiz
Maybe the composer himself but she's up there with his recording.
This lady is fabulous!!!!!!!
She is, indeed. Her interpretation of this Shosh #2 PC is beyond brilliant. Thank you for recognizing it as being so.
Winner of 1969 Van Cliburn competition!
I just love how she plays! This is a perfect performance and I think she is absolutely the BEST!
I had recordings of her in the late 1970s then never heard of her since. Happy to see she is still active
fantastic!
Cristina breathes her soul in to this glorious music, particularly the slow movement. The touch of an angel. She captured my heart at a performance of Ravel’s piano concerto performed in Altea, Spain, many years ago.
What a stunning woman! There's ONLY beauty in this performance. Stunning. Thanks for posting this. Brava Cristina❤️❤️!
An interpreter must find his(her) way through a work. Sometimes he fails, but sometimes he succeeds in nailing it perfectly, as is the case here: a wonderful, sublimely lyrical rendering. Cristina nailed it here so successfully that it changes our vision and perception of this work of art.
Bravo Cristina!
🌹💥👍😀🌹🌹🌹🌹🌹
Saw her when she was a teenager with Santa Monica Symphony. A fine artist!!
What a stunning artist!! Both in playing and personality. Beautiful!
conheci Cristina em REecife jovem. qdo ganhou um premio. QUE PRAZER ESTAR VIVA, PARAOUVI-LA E VE-LA. MAGNIFICA.
😅wonderful performance, sparkling precision, passion and clarity delivered with such zeal and assurance. My favourite interpretation of this piece.....the slow movement's performance is from "heaven"" with taught sensitive phrasing and melodic expression. Music of the gods, played by a goddess!
Cristina Ortiz was here in town once and played all 5 Beethoven concertos in 2 days. I will always remember that. Her playing is full of life, joy, colors... I love her! This vid is also stunning, she nailed it! Brava!!
Spectacular performance.
I cannot believe I am listening to this work for the third time tonight - first on radio, then the Bernstein version on TH-cam and now this sublime version played sublimely by Cristina Ortiz, especially the Andante. Thank you.
I just did the same thing you did! Heard it on the radio, listened to Bernstein version on TH-cam, and now this sublime version!
The Ortiz versions are the very best on Earth, I think.
Congrats! Magnificent rendition
I can listen to this over and over again! Christina Ortiz has a special apparition! Her interpretation is brilliant and co-artistic! She plays as if she herself has written the music! I adore her and her playing - she is unique!
You can listen to Shostakovitch at the piano it is terrific, just write in the search
Brilliant performance, out of all the presentations I've heard of this, this definitely takes first place.
I love this presentation. ❤
♥️♥️♥️
Charismatic, talented and vibrating musical character.
🇧🇷
Such clarity! This has been my favorite concerto for quite a while, but I am hearing and appreciating the counterpoint sections like never before. Thank you, Cristina Ortiz!
Totally agree re the counterpoint,
Superb!!!
Timecode:
1. Allegro 0:18
2. Andante 8:08
3. Allegro 14:46
Fantastic!
Brilliant, wonderful interpretation.
amazing performance! I am impressed!
Impecable. Además ella tiene un toque y sonido exquisitos y sumo cuidado por los detalles.
Maravilhosa!!!!
She owns this concerto as everyone who heard her with Bernstein ! Geese this long neo-classical exposition . So charming here! The playing is so characterful I didn't recognize the pianist I heard before this playing the same music .OPerfect attacks and the music is what its meant to be . Other young woman might have won a competition but maybe the conservatory orchestra was a problem too. Ortiz is fantastic , a powerhouse and her sound has color . There is nothing she can't do . Her imagination made this not programmed much work really shine !
Love Shostakovich. Love Cristina.
I saw this lady playing Grieg many years ago at the South Bank in London.
Top class then as now
Belíssimo!!!
Cristina Ortiz is amazing! At this moment the best Brazilian pianist👍
Only since Nelson Freire's death
Indeed, but I didn't say he was bad. On the contrary!
I do agree with all compliments over her. Indeed. We both share the same home town. Once I met her, and she was surprised that I could recognise her ...
She seems like a very humble person... If you ever happen to meet her again, please tell her my admiration for me. I've heard lots and lots of pianists but she has a very special musicality to her. Thank you
sbareg and mine as well!
Great performance, she plays as she were the composer
exactly
Absolutely splendid
Bravo !!
Sod the fact that the timing might not be to some peoples´ liking - as far as I am concerned Cristina nails the piece! And I bet that Shostakovich would approve if he were to listen to this. I have rarely heard both hands being as distinctly separate as in her playing, especially the the second movement, but in totally in concert. Magic!
Parabéns, «speachless»!
such a delightful composition - why isn't it heard more often?
Apt question, Kathie. I guess it is another mystery of life; most are busy at distractions, while missing out on the attractions.
The 2nd movement has always been a favourite ( like a daily anthem 🙂), and it took a chance viewing of the ' fantasia ' series, to link all the three movements.
I saw the performance ( based on a recommendation of someone on this video) a few days ago in Leicester.
Valentina Lisitsa's interpretation was faster though, but with music, each artist is unique.👍
Disney’s Fantasia 2000 introduced it to many young ears. 🥰
Well, I also hear this for the first time, and I've heard a lot.
Bravissima!
This Andante as the first love in May, in Russia
There have been some comments about the fact that Ortiz does not play this work at "full tempo." I would say that playing it at "full tempo" is
enormously challenging and even painful. Just because a pianist does not choose to damage their hands should not make this an issue. That aside, playing it at
a reduced speed allows us to actually HEAR the key changes in the wonderful scale passages which at full temp go completely unheard.
Then there is the issue of the sostenuto pedal which she uses "freely" in the work. If you are a "percussion person" you want to hear this work without
sostenuto pedal, except of course for the 2nd Movement, which is arguably the most beautiful concerto movement written in the Twentieth Century. Using the
sostenuto will make the work more "romantic" and less exciting.
However, the plus side of this is that despite her sostenuto pedal, the work was played with excellent clarity of passagework. No shortcuts were taken. She
plays every note.
I think there is ROOM for a more romantic Shostakovich 2nd. Ortiz makes an excellent case for it. As further argument, if you need one, try
to listen to the 2nd Movement without crying. I always cry.
When I was at Shostakovich's grave site in Russia, I put a pebble on his headstone and thanked him for what he gave to all of us.
Sanjosemike (no longer in CA)
La critique est facile mais l'Art est difficile.
The tempo is perfect
@@asalinas16 exactly
El interprete debe buscar su camino en la obra; a veces se equivoca, pero otras acierta totalmente, como aki ocurre: una versión lirica y sublime del concierto. Bravo Cristina!!
👍💥🌹🌹🌹🌹🌹
OMG
Unbelievable performence, for the 2nd mvt.
I love how she mouthed, “Oh, my god,” at the end of her performance.
Me too!
I wouldn't know about this piece if I hadn't seen Fantasia 2000.
It was the point of Fantasia and Fantasia 2000 ^^ good thing that it led you to this wonderful performance.
Same!
pretty solid performance
Bravo, si señor!
Bang up job by the camera crew btw
Lindo!
The placement of the F at 9:31 is utterly perfect. As is it’s weight…
65 annos???Amazing
Not "full speed" but stunning articulation and attention to detail!
Exactly, what is sure is that I had never heard it played like this before.
Gloriously not at speed. Classical music has been contaminated with manic speed since around the end of the 18th century. Classical music needs this human quality that lightning speeds lack (for the true ennoblement of the artist and society, and not for the usual snobbery and obscurantism). Yes, I’m disparaging Shostakovichk’s and others’ aesthetics, if their MM markings mean what we think and he thought they mean. Many theorists whined about this speed madness in the 19th century. And it’s only grown and when it wanes, it’s seen as an interesting anomaly, and not like a return to common-sense-, heartbeat- and tempo ordinario- guided music, because of our sad and lacking historical music education in conservatories which supposedly serve to conserve noble traditions.
Are we sure, for example, that the Chopin we hear today, is the one he himself intended? If attention to detail is so appreciated, if rushing is easily identified, what is a better artist: one who pays attention to detail, or one who does not? What would they be competing for?
@@AlbertoSegovia. Speed.
@@gatofelixriodejaneir you’re right. But not only of performance, but of the audience leaving the concert hall too.
I am confident in the capability of this classical music to truly speak to more people. With this culture of harshness and speed, people cannot take a noble message from it and simply run away. Demand and offer. If I can’t hear the subjects in a Bach fugue, why would I trust that the artist is a good one? Is common sense too pedestrian for musicians or music authorities?
I emailed WQXR to play it sometime, but no results.
0:18 is a good place to start.
CARALHOOOOOO
the tempo fluctuations are too romantic for me at certain points. but the tone she gets out of the piano is just stunning and beautiful
This is Shostakovich at his most romantic!
7:16 lmao
14:47
8:08
veneno pa tu piel
Wasn't it Oscar Wilde who wrote (In the Importance of Being Earnest) "I don't play accurately--any one can play accurately--but I play with wonderful expression"? - well, this performance is like the polar opposite of this - plays all the right notes with absolutely zero expression. Sibelius software MIDI playback has more expression.
What a perverse opinion, and not a worthy one. I am very familiar with this work both from live and recorded performances this is very fine performance imbued with expression.
Cristina Ortiz doesn't play with expression? Dude you should meet her one day and make some lessons with her because her musicality comes out her pores. She can make a rock sing.
Zero expression? I'm deeply sorry for your hearing issues, but you shouldn't give such a conclusive opinion if you have no ears, sir.
@Konstantin Ridaya I agree - there is absolutely a limit - and that is the very nature of fidelity to the score and the composer's prescriptions (heavily researched over the past decade). Deviations from such can be expressive - too much, and they render the performance inauthentic - that's the balance all of us as musicians must master - deviations in Chopin is welcome; Stravinsky - not at all. All three movements lend themselves to much more creative and expressive departures from the score than Ortiz offers - that's my opinion, and that is what I personally like in both music and musicianship - a careful balancing act away from authenticity and towards performativity. I do deserve better than this - had I paid for a ticket to that concert. Paying to listen to this when I could hear better from a final year undergrad - now THAT would be foolish.
@@sbareg We must be hearing different things then - especially in that second movement. It's like removing a boot without un-doing the laces.
flimsy