Feste und Konzerte
Pianistisches Klangfest der Extraklasse
Concert with the Collegium Musicum Ludwigshafen and pianist Kamilla Bechtold in Limburgerhof
“… It was striking that, in its performance of Mozart’s Piano Concerto in F major, KV 459, the orchestra came very close to emanating the typical sound of Mozart. The reason: Mozart’s music inspires not only the audience but also the musicians. Mozart’s melodies really get under your skin, whereas those of Fesca merely scratch or tickle it. It is here that the lively young pianist Kamilla Bechtold inspires music lovers. Her attack is precise and – in the spirit of Mozart – not at all soft or trifling. This artist immerses herself in the music, expressing its importance without superficial coquetry. That feels good. She does away with intrusive rubato. Lyrical themes do not fade into the background, but adapt to the dramatic passages of the concerto. In this respect, the piece sounded homogeneous and logically structured. Kamilla Bechtold grew up in Nizhny Novgorod. From 2003 she studied at the Mannheim University of Music under the tuition of Andreas Pistorius. As an encore she played a piece from Debussy’s cycle “Children’s Corner “, which she performed with virtuosity and a keen sense of timbre and dreams …”
… Gerd Kowa
A FIRST – CLASS PIANO CONCERT
“… Series “Concert in the afternoon”: Kamilla Bechtold performs in the historic council chamber in Speyer.
Kamilla Bechtold recently graduated from the University of Music in Mannheim under the tuition of Professor Andreas Pistorius. Previously, the Russian-born artist studied at the Balakirev Conservatory in Nizhniy Novgorod. She performs regularly, for example at the “Festival Mitte Europa” in Plauen.
She began her recital in Speyer with Bach’s French Suite in D minor. She put great expression into this music, which was as vivid as it was passionate. With a joyful, pleasurable and hedonistic performance, she brought life to powerful and emphatic dance movements. This allowed her to sing the phrases with increased intensity. Bechtold is always completely at one with the music and the instrument. And so she put her heart and soul into Haydn’s Piano Sonata in C Minor, awakening a cheerful and playful air that was as enchanting as her expression of the music. The pianist played the slow movement with great poetry and grace, without overindulging her audience. To the outer movements she brought an abundance of life with balletic verve and wit, which she inspired with creative freshness and playfulness.
Bechtold is an artist who has a great sense of style, taste and musical talent. This was evident in a performance that was continually able to draw out the unique character and sonority from works of all eras – from Baroque to early modernism. With energetic exuberance she threw herself into Chopin’s virtuosic Étude Op. 25, No. 9 in G-flat major. She performed the Rachmaninoff Étude-Tableau Op. 33/4 in E-flat major with great resolve and with equal brilliance.
Debussy is the young pianist’s favourite composer, as she has acknowledged. She captured perfectly the cheerful and extrovert character of the cycle “Children’s Corner”. She performed this music with an exquisite touch and the most beautiful clarity, creating an image of colourful glittering note strings and arabesques scattered enchantingly across the keys. To conclude, Bechtold played the Three Sarcasms Op. 17 by Prokofiev with spirited boldness and with a pounding, intense and rousing rhythm. Just the way it should be. A first-class piano concert….”
… Rainer Köhl
Published by: DIE RHEINPFALZ