Federico Colli, Queen Elizabeth Hall - classical review
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Whenever Italy throws up a brilliant young pianist, hopeful comparisons are made.
The new Michelangeli! the new Maurizio Pollini! Such things have already been said of 26-year-old Federico Colli, winner of the 2012 Leeds Piano Competition, who has now made his debut in the Southbank International Piano Series.
And although his artistry is completely different from that of either of his great predecessors, the comparison is appropriate because he really is extraordinary.
Cutting a dandyish figure in his grey suit and trademark silk cravat, he launched into a Mozart sonata (No 5 in G) regarded by many pianists as downright trivial, but which in his hands opened up like a spring flower, its outer movements shot through with brilliant lights, and its Andante exquisitely shaded; he tended to brush the keys rather than striking them, and he was very sparing with the pedal.
Transferred to Beethoven’s ‘Appassionata’, this touch supported a reading of that majestic work which was immaculately controlled, faithful to the architecture, and at white heat throughout.
He wound up with an account of Schumann’s first sonata so quirky and original that it might have been a brand-new piece, yet it still felt true to Schumann’s spirit.
For that is Colli’s greatest gift: absolute clarity of intention.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments