Krisztina Wajsza Pianist

piano
biography
Krisztina Wajsza is a pianist of hungarian origins, born in Cluj, Romania.She started playing the piano at the age of six with Walter Metzger. In 1980 her family immigrated to Switzerland  where she studied at the Konservatorium Bern and achieved her Soloist Diploma with Michael Studer in1988.

From1989-1991 she  studied at the Juilliard School with Joseph Kalichstein, where she was a first prize winner at the " Mozart Competition" in1990. Her Debut at the "Alice
Tully Hall" with the Juilliard Symphony followed in the same year.1991-1993 she worked on her Artist Diploma  at Indiana University with the late, Distinguished  Prof. György Sebök.

She gave her Debut at the "Wiener
Konzerthaus"in Vienna  and in Linz,  at the "Brucknerhaus " with  the Wiener Kammerorchester in May 1999. She perfomed regularly with Chamber Orchestras as ; the " Festival Strings Lucerne", conducted by the late Rudolf Baumgartner, the  "Zürcher Kammerorchester" conducted by the late  Edmond de Stoutz , Camerata Academica Bayreuth, Berner Kammerorchester,Aarauer Kammerorchester etc.
April 2005 she gave her Recital Debut at the "Wigmore
Hall" in London.

Many other concerts engagements brought her to France, Italy, Germany, The Netherlands, Hungary, Romania, USA, Chile, Mozambique.
Recent concerts at the International Piano Festival in St. Ursanne, Switzerland ,where she premiered Fernando Otero, Grammy Award winning composer's " Hommage á Debussy".Solo performance at the International Piano Festival in Dublin.
Recently she  performed troughout Switzerland in chamber music formations with Victor Villena, bandoneonist and with the violinist Hansheinz Schneeberger.
Recently she founded a Piano Duo, with the Grammy Award winning , Argentinian pianist and composer, Fernando Otero.During the seasons of 2016-17 solo and chamber music concerts are scheduled in Switzerland and the US.

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Reviews
New York Philharmonic Ensembles at Merkin Hall
2017-01-09 Oberon's Grove, New York City
"Following the interval, the Brahms Third Piano Quartet was given an epic performance by the NY Philharmonic's concertmaster Frank Huang, the orchestra's associate principal cellist Eileen Moon, and violist Robert Rhinehart. With artists of this calibre, a sensational player is needed at the Steinway to complete the quartet; I confess to falling instantly under the spell of the Romanian pianist Krisztina Wajsza, who both in her playing and in her persona made a vivid impression on me.

The backstory of the third quartet is fairly well-known: Brahms began the piece during Robert Schumann's last illness; Brahms was at the time torn between despair for his dying friend and his own secret love for his friend's wife, Clara. Brahms left the quartet unfinished for nearly twenty years before rescuing it, making extensive revisions (including a change of key signature) and leaving us with this beloved work.

Ms. Wajsza's sense of grandeur set the tone for today's rendering of this music, of which I scrawled the word "gorgeous" a half-dozen times on my playbill. The pianist has an Olde World sense of nobility; thru her splendid posture and mesmerizingly lyrical hands, she continually made the music seem not merely deeply satisfying, but important. It was hard to take my eyes off her, truth to tell.

Big, passionately expressive playing marked the first movement; the string players, taking wing on the uplifting glory of Ms. Wajsza's heartfelt artistry, made music that was transportive both in its radiance of tone and spirited sense of flow. Ms. Wajsza's keen sense of rhythmic definition set the ensuing Scherzo on its way; it begins with lively energy before turning more forceful as it progresses.

We now reach the heart of the matter: the Andante, where Ms. Moon's cello in the opening theme was achingly beautiful; for a few moments, she and Ms. Wajsza let us bask in the intrinsic tenderness of the music. Mr. Huang's violin enters sweetly, and the
"
(Philip Gardner)
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Esteemed Pianist Krisztina Wajsza at Lorton Center University of Tulsa
2017-01-31 The Collegian, Tulsa
"Tuesday evening, Feagin Visiting Artist Krisztina Wajsza regaled an enthusiastic audience in Lorton Performance Center's Gussman Hall with a virtuosic solo piano performance to kickstart her weeklong residency in Tulsa. Audiences familiar with the classical genre will know that solo piano performances have a capacity for a particularly large range of delicacy and power, and the Swiss Wajsza delivered a packed program to show off her intense ability.The evening began, as many do, with Mozart – Sonata in c minor, KV 457, written in Vienna in 1784, seven years before the composer's untimely death. Mozart tends to stay fervently attached to the classical forms in his music, so performers often opt to begin the program with etiquette and precision before launching into the juicy stuff. Wajsza's performance delighted, particularly her effortless performance of the luscious second movement."
(Matt Magerkurth)
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Un jeudi après-midi de grande classe. Festival International de piano á St.Ursanne
2006-08-14 Le quotidien jurassien, St.Ursanne
"Un jeudi après-midi de grande classe Festival international de piano à St. Ursanne   La classe! Le dernier concert de soliste a été suivi avec la plus grande attention et la belle affluence habituelle. Krisztina Wajsza en impose par sa présence, son jeu extrêmement varié, le programme intelligent tel qu'on peut l'ordonner dans l'immense répertoire de cet instrument. Magnifique récital. On peut parier que la soliste sera un jour considérée comme grande dame du piano pour peu que les étoiles lui soient favorables en tout domaine. Krisztina Wajsza respecte son public: elle fait de la main et de la tête le geste juste et calculé pour signaler la fin d'une pièce. Krisztina Wajsza aime son piano: elle ne le quitte que lorsque toutes les vibrations se sont éteintes, aussi celles de son bras.   De l'audace et de la conviction Elle a joué Mozart en le libérant dans la vastitude des nuances les plus étendues, les sonorités les plus cultivées (KV 457 et 310). Rythmes claires dans l'enchevêtrements des harmonies (Villa-Lobos). Enfin un collier de perles, les douze préludes, op. 11 de Scriabine. Certains ne durent que 20 secondes! Quelle audace! Elle est prémonitoire pour inspirer les Schoenberg et Alban Berg! La pianiste a rendu justice à ces pièces brèves avec une conviction et une foi en l'art qu'on ne saurait oublier. (pf)  "
(Paul Flückiger)
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Sternstunde in Blumenstein in der Stadt Solothurn
2012-04-23 Solothurner Zeitung, Solothurn
"KAMMERMUSIK Aktualisiert am 23.04.12, um 22:00 von Silvia Rietz (Text und Bild)   Sternstunde im Blumenstein in der Stadt Solothurn   Die Pianistin Krisztina Wajsza und Violinist Hansheinz Schneeberger. Quelle: az Mit Hansheinz Schneeberger gastierte einer der grossen Schweizer Geigenvirtuosen bei Musik im Blumenstein, wo er mit Pianistin Krisztina Wajsza französische Kammermusik spielte. Ihr erster gemeinsamer Auftritt schenkte dem Publikum eine Sternstunde. von Silvia Rietz (Text und Bild)         Hansheinz Schneeberger ist ein Virtuose von Weltrang, er spielt seit seinem sechsten Lebensjahr Geige. Im Oktober werden es achtzig Jahre sein, dass der beneidenswert vitale Musiker mit der Violine verwachsen scheint. Ton und musikalisches Empfinden dieses Ausnahme-Künstlers berauschen noch immer.   Mit Krisztina Wajsza hat er eine kongeniale Partnerin gefunden. Eine famose Pianistin, die sich im Zusammenspiel vom Grandseigneur der Geige leiten lässt, ohne ihren persönlichen Stil preiszugeben. Zwei Künstler, die sich musikalisch blind verstehen und harmonieren – starke Persönlichkeiten, voller Esprit und Empathie für französische Kammermusik.   Prunkstück für Geiger   Zum Auftakt reüssierten sie mit der einzigen Sonate, die Debussy für Geige und Klavier geschrieben hat und die zu den bedeutendsten ihrer Gattung zählt. Darin fasste Debussy die charakteristischsten Elemente seiner Musiksprache zusammen. Hansheinz Schneebergers Geigenton schillert in breitester Ausdruckspalette. Gemeinsam mit Krisztina Wajsza bietet er ein fesselndes Kaleidoskop verschiedenster Klangfarben. Bei Ravels Sonate für Violine und Klavier fesselte vor allem der hummelflugartige Perpetuum-mobile-Satz.   Ein träumerisches Gespräch, ein Dialog auf Augenhöhe   Abschluss und zugleich Höhepunkt bildete die einzige Sonate für Violine und"
(Silvia Rietz)
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