Axel Lenarduzzi Pianist


The relationship between the piano and Axel Lenarduzzi started as a pinnacle that brought  on  many more: the end of his education, in the mythic city of Rome, was crowned by a prestigious diploma - Diplôme supérieur de perfectionnement  à l'unanimité - issued by the no less prestigious Académie nationale supérieure Santa Cecilia, and earned under the teachings of Sergio Perticaroli.


The encounter with the maestro, which will occur during the festival de Salzburg, will bring about the end of his apprenticeship, open up his  artistic vision of the piano, and of life as a concert pianist.  To Axel, practicing the piano, life as a musician, and the role of the musician as an interpret are opportunities to open up spiritually, to discover not only  the self, but humanity as a whole, because playing for the public implies having a humanitarian side, because interpreting, seeking the truth, and the artist within, implies self-discovery and working on the self.


Aside from his passion for the piano, he has also fed his love of literature and philosophy, via the works of such masters as Nikos Kazantzakis, Herman Hesse, Fédor Dostoïevski, and great thinker Jean-Yves Le loup, just to name a few… 


His long apprenticeship in music, which ended in Rome, actually started at the Cconservatoire d'Asnières, under the direction of Christian Manen, where he brillliantly mastered every level.  Next came the Conservatoire National de Région de Boulogne-Billancourt with Geneviève Ibanez, followed by the Conservatoires Nationaux de Région de Montpellier with Patrick Zygmanovski, and the Conservatoire National de Paris with Jean-Marie Cottet. During those years, he also attended  several Masterclasses with Pascal Devoyon, and worked with pianist Géry Moutier at the Académie Internationale du Moulin d'Andé.  He was then introduced to Bruno Rigutto with whom he perfected his skills for a few years, before he would meet Jean-Claude Vanden Eynden, at the Festival de Novarra, whose class he joined at the Conservatoire Royal de Bruxelles, and earned the first prize in piano, music history, harmony, chamber music and analysis. He also started studying with Sergio Perticaroli at la Schola Cantorum in Paris, before returning to his  Italian roots in Rome.




During his Italian journey, he has the opportunity to play and work in the Rodi Garganico Masters-class, to stay at the Medici Giulini villa, and to meet composer Davide Liani.


His desire for exchange and for experiencing  different styles of interpretation cause him to further perfect his skills with pianists Jean Marc Luisada and Elena Rozanova, and to play with violonist Svetlin Roussev. He will also collaborate with l'atelier lyrique de Normandie, directed by Philippe Hui, accompanying French and German opera singers.   During that priod of time, he finds his mentoring by Noël  Lee most beneficial.  Intrigued by musical and physical movement, he gets deeply involved in Tai-chi and sport.


The prize-winner of many International competitions, in Italy, France, Vignola Classica, Liszt, Naoumoff, Lyon's Club, he starts playing professionally on a regular basis:  Festival Tempietto di Roma, Festival Notte Classice, and more.


In 2006,  he is invited in the USA, where he performs a triomphant series of concerts in Alabama and Florida, a recital with pianist Robert Holm, and the recording of In concert and of Famous piano Duo.


Back in France, his presence is requested from one festival to the next:  Coream, with Svetlin Roussev,  Gorges du Tarn ,  Les Week-end du Piano at Maisons-Laffitte, Parc de Bel Ebat in Avon, Musique en Fête in Alsace, where he recreated on stage the Conservatoire National de  la grande sonate de Marie Jaëll, Classique et Jazz in Val-Thorens, the Festival du Château de Martigny.


In 2008, he is asked to return to the US.  This new tour takes him to Louisiana, Mississipi, and other Southern states.  He plays in the New Orleans Trinity Concert series, gives a recital, performs a duet with Robert Holm, collaborates with several U.S. universities, namely  South Alabama University and Birmingham University, and performs a live radio concert.


Festival invitations keep coming: Château de Nailly ,  Festival de l'abbaye de Vauluisant, Festival de Calvi, Hulencourt Art Project, Festival de Lagord Le piano dans tous ses éclats, les musicales de l'Arbousière, Classique et Jazz in Val-Thorens, Festival de l'abbaye de Talloires, Paris Deco-off for the unique presentation « piano haute couture », Festival Les Musicales d'Epernay, and PagArt Festival, directed by Lovro Pogorelich.


In 2011, to honor a composer with whom he has been fascinated since his debut as a pianist, he records Liszt Invocation, in which he takes us on a journey through Liszt's various composition styles and transcripts.


In 2012, he is invited to the U.S. once more to perform various concerts, teach a masterclass, and speak at the Uiversity of Alabama on the piano techniques in French music.


In 2013, the album Alpha et Omega, combines the beginning works of Brahms with his latest ones.


Aside from concerts and invitations, one of his upcoming projects consists of a new album based on the work of Leticia Cuen.

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Liszt est un homme redoutable. "Etait" voudriez-vous me corriger, au motif que le musicien est mort maintenant depuis 130 ans… tout ronds. Mais Liszt reste un redoutable compositeur qui met la vélocité des pianistes à rude épreuve en plus de leur virtuosité.
"C'est vrai, seulement Liszt avait aussi une démarche très humaniste, très sociale", estime le pianiste Axel Lenarduzzi. "Il voulait apporter le savoir, la culture à tous, tout en gardant une grande exigence quand à cet art qu'il désirait défendre. Et je trouve que la force de sa musique, de ses couleurs, peut happer tout le monde. Absolument tout le monde."
Liszt s'est donc naturellement imposé samedi soir au programme d'un concert exceptionnel en tout point.
Un concert programmé place de l'Europe (une première pour du classique), gratuit, à ciel ouvert, où il n'y a aura d'autre rapport que celui du pianiste au piano et du piano au public.
Pas d'estrade, pas de décorum, pas même de toit, et surtout pas de frein, qu'il soit culturel ou social. Samedi soir s'inscrit sur la voie de la démocratisation de ce qu'on appelle la musique classique.
Voilà longtemps qu'on avait envie de sortir un peu cette musique de ses lieux, disons un peu "ouatés", souligne Stéphanie Muel, adjointe à la culture. "Pour l'exposer sur la place publique, en toute liberté, et devant le plus grand nombre. Mais pour ça, il nous fallait une rencontre comme celle qu'on a eue avec Axel Lenarduzzi. Le lieu est évidemment choisi à dessein. Dans ce quartier des Provinces, résidence de quelque 3000 habitants à Laxou, et fraîchement repéré au titre de la rénovation urbaine parmi quelques 200 autres quartiers en France. "Un quartier populaire et attachant, qui mérite tout autant que les autres quartiers de la ville, et de l'agglo en général, d'accéder à des interprètes de talent", insiste Laurent Garcia. "On a la faiblesse "


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2009-04-26 reviem from Claude Taelman, Avignon

This young franco-italien pianist certainly did not choose the easy pieces for his recital.

First the sonata called the "Appassionata", which Beethoven considered his greatest; unleashing all its elements did not in the slightest disturb his interpretation. Very carefully contrasted, it quickly transformed into the tragic accents in the finale, so often characterized as a torrent of fire.

Axel Lenarduzzi then demonstrated the same ease with the 13th Hungarian Rhapsody of Liszt, which, under his fingers, seemed full of a flashing light.

Three short pieces which Brahms characterized as "Klavierstucke" preceded the intermission. The charm of their composition which allies elegance to melancholy did not escape their interpreter, visibly very inspired by this style stripped of all mannerism.

What to say of "Estampes", one of the masterpieces of Debussy, except that it constituted the high point of the recital. The fabulous richness of all their sonorities in the evocation as brilliant as the oriental tones or the rhythms of Spanish folklore, not forgetting gardens in the rain lit by the full sun.

As though inhabited by the genius  of Debussy, the young pianist enchanted his listeners, as much by the exactness of the tones as by the delicacy with which every note was struck with luminous resonance. Unforgettable was his superb interpretation of Liszt's "Spanish Rhapsody," played at the conclusion of the concert.

It served as a fitting showcase to exhibit the high virtuosity of Axel Lenarduzzi, which seemed supreme in every range.

One sees there the mark of a true talent.

Claude Taelman, Musical Critic

26 April 2009

(Claude Taelman )
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