
Given Ingrid Fliter’s past penchant for extroverted and even capricious Chopin playing, one might assume that she’d take the wildly contrasted Preludes Op. 28 on
Chopin’s two concertos often benefit from the use of a chamber orchestra. In this recording, for example, one encounters punchier brass tuttis and leaner yet
The main problem here concerns overly reverberant and murky sonics, which seem to make the ends of Ingrid Fliter’s soft phrases disappear. You especially notice
In contrast to the modern-day directness and simplicity characterizing reference versions of the Chopin Waltzes by Arthur Rubinstein (his stereo recording) and Dinu Lipatti, Ingrid
A strong artistic profile emerged from Argentine pianist Ingrid Fliter’s live 2005 Concertgebouw recital, released by VAI in conjunction with her receiving the coveted Gilmore