aleksandra mikulska · Press

10.7.2018 - Fränkische Nachrichten - Manfred Stock

"Brillante Hommage an Frédéric Chopin"

"... Aleksandra Mikulska gilt als profunde Kennerin der Werke von Frédéric Chopin. (...) Sie hat es sich zur Aufgabe gemacht, die Werke nicht nur zu interpretieren, sondern wie in einer Biografie die persönlichkeitsbezogene Essenz von Chopin herauszuarbeiten und hörbar zu machen.

An diesem frühen Abend gelang das beeindruckend gut. (...) Der vor Ideen sprühende, witzige und weltgewandte Pole Chopin erstand buchstäblich in seinem ganzen Profil wieder auf. (...)

Es muss wohl an den nationalen Genen liegen, dass die Interpretationen, ja – das Kolorit der ursprünglichen aus der Folklore entstandenen Mazurkas durch Mikulska nicht nur technisch brillant, sondern auch gefühlvoll transponiert wurde und so auch beim Publikum ankam. (...)

Das „Scherzo b-moll, opus 31“ gehört zu den bedeutendsten Klavierwerken Chopins. Leidenschaftlich und virtuos kommt es mit hohem Tempo daher und stellt zahlreiche pianistische Herausforderungen, denen Mikulska mit extremer Ausdrucksgestaltung und hoher Dramatik souverän gewachsen war – mal drohend unheimlich, mal mit wütenden Fortissimo-Akkorden. (...)

Der letzte Teil des Abends gehörte Chopins Spätwerk, der Sonate in h-Moll op. 58. (...) Mikulska spielte das „Allegro maestroso“ majestätisch-getragen, gestaltete ein lebendig-bewegtes Scherzo mit perlenden Achtel-Figuren. Frei, intuitiv und gefühlsbetont. Dunkel, schwer, ja pathetisch kommt das „Largo“ daher. Ernste musikalische Figuren und zarte Melodielinien erzeugen eine geradezu meditative Stimmung. Doch im Finale am Ende lichtet sich die Schwermut dann doch. Mit dem ausdrucksvollen Spiel der Pianistin mündet die Sonate in einen ungezügelten, fast rauschhaften Ausbruch. Herzlicher Applaus belohnte die Pianistin für den wunderbaren Abend, den sie den Zuhörern mit ihrem Konzert schenkte."

2.6.2018 - Darmstädter Echo - Thomas Weiss

"A delicately coloured Liebestraum"

"… The famous Liebestraum, which Mikulska delicately nuances rather than sentimentalises, is an homage by Liszt to his lover Countess Marie d'Agoult. The three – seldom heard – Glanes de Woronince were inspired by the composer's acquaintance with Princess Carolyne zu Sayn-Wittgenstein. The Polish pianist subtly shapes these pieces while employing a broad dynamic range. In her hands, the sixth Soirée de Vienne, after Schubert, becomes a striking tribute to the Viennese waltz.
Mikulska approached the Liebeslied, after Schumann's Widmung, with appropriate emphasis, bringing to bear many pianistic colours. In order to underline the importance to Liszt of his Hungarian homeland, she chose three of his Hungarian Rhapsodies, numbers 5, 11 and 12, which, following the exquisite coloration we had previously heard, allowed the young pianist to foreground her rhythmic flexibility. Liszt's Hungarian Rhapsodies can be approached in more of an improvisatory spirit than was displayed by Mikulska, but here too the power of her playing and her suppleness were thoroughly convincing. …"

9.4.2018 - GRAMOPHONE - Patrick Rucker

"Aleksandra Mikulska: Souvenirs"

"… The song transcriptions, Schumann’s ‘Du meine Seele, du mein Herz’ and ‘Überm Garten durch die Lüfte’ and Liszt’s own ‘O Lieb!’, are persuasive in their understated earnestness, with melodies effortlessly articulated amid the elaborated accompaniment figuration. Mikulska’s imaginative realisation of the ubiquitous sixth Soirée de Vienne sparkles with a charming Viennese Schwung.
Mikulska’s fundamentally serious and idiomatic approach to the Hungarian Rhapsodies precludes any hint of vulgarity, yet allows for stretches of light-hearted frolic, even coquetry, when called for. These are original readings, devoid of hysteria, that will likely satisfy even the most discriminating Hungarian listeners. Something of the rhythmic acuity and hauteur that inform her evocations of the Roma of the Carpathian basin enliven her realisation of Liszt’s flamenco-inflected Iberian fantasy, the Rhapsodie espagnole. Taken as a whole, these four rhapsodies combine idiomatic piquancy, rhythmic aplomb and precisely gauged colour with a dignity of presentation that is irresistible. …“

7.4.2018 - - Frank Piontek

"Expression and clarity or: A thinking musician"

"... Finally, after the interval, comes the hammer blow: Liszt's sonata, which, and Ms. Mikulska can refer here to Alfred Brendel, is a Faust ¬sonata. According to Aleksandra Mikulska, Liszt "subordinates musical acrobatics to musical meaning". And this is how Mikulska plays the piece: highly dramatically, compellingly, lyrically, with a beautiful feel for transitions, correspondences, heightenings of mood, effects with a purpose. There are pianists and there are pianists who are also musicians, and Mikulska falls into the latter, rarer category. She creates music that one positively wants to crawl into. If music can be capable of generating tension, this highly strung music is it. The way Aleksandra Mikulska plays all this, it is as if one has never heard it before. She listens to the sound, but can also play the brilliant acrobatic pieces, which do not sound like mere circus acts because here extreme brilliance combines with self-evident greatness to create something that is beyond description. Voilà: a thinking musician."

7.4.2018 - Frankfurter Rundschau - Stefan Schickhaus

"Time to breathe and resonate"

"… In the hands of Aleksandra Mikulska, who also happens to be President of the Darmstadt-based German Chopin Society, this concert grand sounds magnificent: resonant, powerful, bright, but never harsh or over-brilliant. In this it supports the particular strengths of Aleksandra Mikulska, who can be described in good conscience as the most singing Polish pianist since Ewa Kupiec. For all her virtuosity, Mikulska is completely relaxed in her playing. Her Liszt has time to breathe and resonate. (…)
And if the treble voice in her Frühlingsnacht shines out like a shooting star, it is impossible to pay sufficient respect to either the Bösendorfer 280VC from Vienna or the pianist from Warsaw. … "

28.3.2018 - - Juan-Carlos Tellechea

"La pasión arrolladora de Aleksandra Mikulska"

"... Este mismo estado de ánimo elevado o algo muy parecido es lo que logra Mikulska con su entera consagración a la obra de Liszt, al hacer suya esa dulzura poética del fenomenal compositor austro-húngaro. Las piezas emanan de su teclado con gran energía, con mucho sentimiento, con gran sensualidad; es, ni más ni menos, la prolongación de su propio espíritu que llega vibrante al corazón del oyente. …"

6.3.2018 - MusikWelt im SR 2-Vormittag - Roland Kunz

"CD releases featuring the music of Beethoven and Liszt"

"Aleksandra Mikulska plays Liszt – a Liszt that is seldom heard (...) This music is extremely emotional, extremely tender and extremely profound, and this is the world in which Aleksandra Mikulska, with all her sensitivity and playing technique, not least her truly masterful pedal technique, is particularly adept at immersing herself. We know this from her Chopin recordings, but it is wonderful to hear and feel it again here in Liszt. (...)
The performances she gives here are also outstanding, the Soirées de Vienne … "

24.2.2018 - Vogtland Anzeiger - Dr. Wolfgang Horlbeck

"A symphony concert with Polish flair"

"... The audience was curious to hear how a first-class Polish pianist would interpret Chopin. Of course one can dazzle with virtuosic brilliance, as in the Piano Concerto in F minor, and focus emphatically on this aspect with a physical, gestural display. Not so Aleksandra Mikulska, who sat at the piano in an almost reserved way, concentrating intently on the smallest nuance of emotional expression. Technical considerations often appeared almost unimportant, her left hand seemingly wanting to help shape the abundance of fioriture, the agogic liberties, the beauty of the melodies and harmonies – a moving and in the best sense female interpretation to which the attentively accompanying orchestra also played its part. The soloist raised the intensity through the movements: dreamlike in the famous Larghetto love declaration, the mazurka finale a vigorous, resounding climax. ..."

23.2.2018 - Freie Presse - Volker Müller

"Demanding music full of life"

"... In her performance of Chopin's second Piano Concerto, the pianist raised neither the virtuosic nor the passionate in the music of her compatriot to the realms of the spectacular, the superhuman or the boundary-pushing. Even in the most demanding passages she continued to radiate an admirable self-assurance, harmony and joy. This style of playing, combining great artistry and a captivating naturalness, continued in the encores by Franz Liszt and Karol Szymanowski, the pianist visibly impressed by the enthusiasm of the audience. ..."

29.1.2018 - Oberösterreichische Nachrichten - Michael Wruss

"Chopin and Liszt with a difference - standing ovations for Aleksandra Mikulska"

"... Mikulska is more interested in the way pieces are composed than in falling back on interpretative models that indulge in misconstrued notions of Romanticism. In other words: no ostentatiously perfumed Chopin and no reducing of Liszt to breathtaking cascades of notes.
Moreover she is a master of subtle tones and finely felt variations in tempo, which bathed Chopin's nocturnes op. 55/2 and op. 48/1, waltzes op. 64/2 and op. 34/1, the great A-flat major Polonaise and the B-flat minor Scherzo in fragile tone colours out of which the explosion was composed.
In the second part too, which was devoted entirely to Liszt, she banked on both the familiar and the less familiar, such as two paraphrases of Schumann lieder and three seldom heard Hungarian rhapsodies.
Mikulska steered an elegant middle course that elicited standing ovations from the substantial audience. These the congenial pianist acknowledged with the C-minor Prelude from Karol Szymanowski's op. 1."

27.11.2017 - Schwäbische Zeitung - Günter Vogel

"Masterly piano-playing"

"The young Polish pianist Aleksandra Mikulska entranced the audience at Biberach Town Hall with a programme of Beethoven, Chopin, Liszt and Szymanowski.
Back in his day, Frédéric Chopin called for sensitivity, musical expressivity and impeccable and transparent technique as the absolute preconditions for accomplished piano-playing. Aleksandra Mikulska possesses these qualities to the highest degree and is a virtuoso Chopin interpreter of the first rank. Her touch moves within an impressive range from feminine sensibility to virile gusto. (...)
And that brought us to the focal point of the evening: Beethoven's Piano Sonata op. 13, the Pathetique. This name chosen by Beethoven himself demonstrates clearly that this music is to be understood in terms of its emotional content. The work begins with a weighty Grave whose tension was increased by the pianist by means of substantial rubatos, through which she made musical and intelligent use of the metre. (...) The pianist celebrated the Adagio cantabile with great beauty of tone, like a sacred chant. (...)
This concert was a high point in the Biberach concert programme."

21.11.2017 - Märkische Allgemeine - Regine Buddeke

"The Brandenburgisches Staatsorchester enthralls the audience"

"... The piano concerto is a masterpiece. Aleksandra Mikulska performs it sensitively and emotionally, now with vigour, now sensuously and tenderly. Her hands seem at times to float as she raises them slowly in a grand gesture, only to then race over the keys once more - so quickly it is almost impossible to follow them with the eyes. The music flows immaculately into the hall. ..."

15.11.2017 - Neue Westfälische - Sybille Kemna

"Great works, expressively played"

"... More than 150 music lovers turned up to hear the pianist Aleksandra Mikulska perform on Sunday. And at the end they gave her a standing ovation. The Polish pianist impressed not only with her velocity and dexterity, but also with her emotional and authentic playing. (...)
Committing her whole body to her performance, Aleksandra Mikulska offered up a wonderful combination of melancholy and infectious melody. She also gave a display of her formidable powers of expression in the Hungarian Rhapsodies and the Notturno No. 3. The audience held its breath through the stirring conclusion and rewarded the performance with tumultuous applause."

13.11.2017 - Der Patriot - Geseker Zeitung - Marion Heier

"A pianist dances"

"... Performing a programme under the motto Dialogue with Fate, the President of the German Chopin Society left the audience in no doubt that Aleksandra Mikulska is a pianist not to be missed. She fascinated with her grace, technical perfection and holistic interpretation of the work, into which she breathes a soul informed by a fusion of musical and physical expressivity. This was in evidence not only in Chopin's Andante Spianato & Grande Polonaise Brillante, but also from the very beginning of Szymanowski's minor-key cycle. She goes in quest of every note and celebrates it raptly. In doing so she delivers an emphatically gestural and elegant style of playing that might be described as a pianistic dance. (...)
And once again Mikulska played as if she were experiencing it all personally. She internalises and celebrates the works down to the very last detail and masterfully endows them with a dynamic all of their own. ..."

26.9.2017 - Darmstädter Echo - Klaus Ross

"Polish piano worlds"

"... The Heppenheim audience was able to experience agogically finely balanced performances characterised by a natural, dance-like vitality and an unaffected lyrical and cantabile freshness.
Increasing in intensity in all the right places the famous, B flat minor Sonata op. 31; intellectually unbridled the Grande Polonaise Brillante in E flat major op. 22 with its wonderfully melodic introduction; outstandingly organic and at the same time rich in nuance the B minor Sonata op. 58: this cross-section of works by Chopin can be seen as the eloquent visiting card of a stylistically confident performer whose talent for communication also came across delightfully in her engagingly charming and personal introductions to the works. ..."

13.5.2017 - Memminger Zeitung - Horst Hacker

"As if from another star"

"Those who heard this musician in the hall of the Erich Schickling Foundation can consider themselves fortunate, for it is not only since the Easter Festival in Bayreuth that her incredible reputation has preceded her – she had already been glorified by the press as a pianist with a certain something who penetrates deep into the spirit of the music. And Aleksandra Mikulska managed to exceed all the high expectations. The music this 36-year-old native of Warsaw conjured out of the piano can barely be put into words. It was piano music as if from another star.
On top of this, she provided the c. 70-strong audience with excellent verbal insights into the works, the composers and her style of interpretation in this Recital Romantique programme. (...)
From the very opening bars, which she played with tremendous vigour, the audience could feel that Mikulska is a pianist who well and truly brings the music to life, living every note as if she it was who had written it in the first place. The auditorium was gripped by breathless emotion, in particular when the pianist, in her own individual way, almost standing up, allowed the end of a movement to die away slowly and with consummate delicacy. (...)
Mikulska abandoned herself to the dreamy Romanticism of this music with technical brilliance, solemnity and a dance-like zest. (...)
The second half was taken up by Chopin's B minor Sonata (op. 58), written in 1844, five years before the premature death of the free-thinking composer. The piece is rich in colours, and monumental like no other of his compositions. He himself nicknamed it a "concerto without orchestra". Mikulska's way of celebrating the lively finale (Presto, ma non tanto, agitato) brought home why she had already been fȇted as a "dream of the perfect pianist." "

3.5.2017 - Die Glocke - Herbert Pälmke

"An artist inspires the audience with her accomplished technique"

"... The Hungarian Rhapsodies numbers 5, 11 and 12 brought the programme to a close, and with it an evening that elicited tumultuous applause, cries of "bravo", and a unanimous standing ovation from the hundred-plus members of the audience.
What else can be said in praise of Aleksandra Mikulska? That she's a great artist devoid of airs and graces or affectation; that she possesses great charisma both as a person and as a star, with an accomplished technique and an intelligent interpretation, thrilling, convincing and perfect. ..."

24.4.2017 - Nordbayerischer Kurier - Frank Piontek

"The Easter Festival: A High-class Finale"

"... The music made by Aleksandra Mikulska on the piano gives one the urge to crawl inside it. Where she can, she lets the final note slowly die away. And her closely woven interpretations of the nocturnes and waltzes and fantasies of love and despair need this kind of ending, for if any music is capable of generating tension, it is this highly strung repertoire. Aleksandra Mikulska plays it all. And listeners are given the impression they are hearing the music for the first time.
There are pianists who simply play well. And then there are pianists who possess that special something that comes from penetrating more deeply into the spirit of the music than others - and in doing so are able to bring tears to the eyes of the audience. Pianists like Aleksandra Mikulska. ..."

23.3.2017 - Westfalenpost

"A concert both powerful and sensitive"

"... Following the first concert in November 2015, many music lovers also wanted to attend the second recital, bearing the title Liebestraum, given by the outstanding pianist Aleksandra Mikulska. (...)
Mikulska brought a virtuosity beyond comparison to her performance of even the most difficult passages in Frédéric Chopin's Nocturnes op. 55 no. 2 and op. 48 no. 1 and the Polonaise in A flat op. 53, and Franz Liszt's third Notturno. In Liszt's Hungarian Rhapsodies numbers 5 and 12, the pianist gave another, concluding, display of her enormous skill. She played powerfully and expressively, but at the same time sensitively and empathetically.
One could feel the passion with which Mikulska, who is also President of the German Chopin Society, performed her own selection of pieces by her favourite composers.
The audience was thrilled: it was as if the applause would never end. ..."

14.2.2017 - Saarbrücker Zeitung - Cordula von Waldow

"More than just a piano recital"

"A concert of the highest technical and emotional quality was given by Aleksandra Mikulska at the Festhalle on Sunday evening.
"Magnificent!" "Enthralling!" "Out of this world!" The enthusiasm of the one hundred-plus music lovers who experienced this performance by the exceptional Polish pianist Aleksandra Mikulska in the Wintergarten of the Festhalle knew no bounds. The thirty-five-year-old piano virtuoso and winner of numerous international prizes held the audience under her spell for two hours. With her unbelievable energy she took her listeners on an emotional rollercoaster ride.
Aleksandra Mikulska did not so much give a recital as breathe new life into the music of Beethoven, Chopin, and Liszt with her own, highly individual, interpretations. ..."

24.1.2017 - Sindelfinger Zeitung - Bernd Heiden

"Chopin with Passion and Nerve"

"... In her version of the B minor Sonata, Aleksandra Mikulska presents a passionate and poetic Chopin, in the fast movements adopting tempi that call for considerable nerve. Thanks to her outstanding technique, however, nothing seems overdone or rushed. She delivers the Scherzo, which is no breeze, as a respect-commanding exclamation mark, while her final movement abounds with forward momentum and chivalric pride. ..."

23.1.2017 - Böblinger Kreiszeitung - Jan Renz

"Liszt, Poet and Lion of the Keyboard"

"Franz Liszt was a piano superstar. His playing sent audiences into ecstasy and caused women to faint by the dozen. Something of the entrancing power of his playing could be felt on the second evening of the Böblingen International Piano Festival when Aleksandra Mikulska focused entirely on Liszt in the second half of her recital. (...)
In her playing one could hear the poet and the virtuoso, the magician and sorcerer, the sensitive aesthete and the lion of the keyboard with a feel for dramatic effects. (...)
It is astonishing how the demanding concert etude La Leggierezza shimmers under Mikulska’s fingers. Rather than simply reeling it off or making do with breathtaking runs, she continually discovers new subtleties in the music. Her recital concluded with two rhapsodies: the Hungarian Rhapsody No. 11 and the Rhapsodie Espagnole. These pieces have lyrical themes that are often massively overworked. Here too, Mikulska emphasised the multifaceted nature of the material, her playing elegant and full of colour. (...)
The last chord unleashed a storm of applause. When the pianist took her bow, her forehead was glistening, but this did not stop her responding to the thunderous acclaim with two encores."

21.11.2016 - Schwarzwälder Bote - Frank Schrader

"Ungarische Rhapsodien überwältigend stürmisch und zart zugleich"

"Never before, perhaps, has there been a storm of enthusiasm in the venerable Blue Salon of Wolfach Town Hall to match the applause that broke out after the piano recital by Aleksandra Mikulska. The 120 or so members of the audience acclaimed the furioso of this gifted Polish pianist of international stature with standing ovations.
From the very first note conjured by Mikulska from her instrument, each of those present had the feeling they were witnessing an extraordinary event, of the kind that can normally only be experienced in Europe’s major concert halls. The pianist began the evening with three preludes by Karol Szymanowski, followed by the composer’s op. 3 Variations. Here already, Mikulska’s considered, carefully thought-out style of playing, which at all times allowed every voice, in each hand, to come through as an equal partner, was immediately apparent. She gave each note the importance it merited, concealing nothing from the audience’s ears out of any sense of delicate restraint. (...)
Thanks to her outstanding ability to shape her material, Aleksandra Mikulska was even able to breathe new life into Franz Liszt’s Liebestraum, which pianists so often sentimalise beyond all measure. (...)
The brilliant pianist took her leave from an enraptured audience with two magnificent encores."

17.10.2016 - Bündner Tagblatt - Christian Albrecht

"Standing Ovations und zwei Zugaben"

Standing ovations and two encores – for a soloist to play a double encore in Zurich’s venerable Tonhalle is surely a rare event. The pianist Aleksandra Mikulska won over the audience with new interpretative approaches.

25.4.2016 - Darmstädter Echo - Silvia Adler

"Wie ein Drahtseilakt ohne Sicherungsnetz"

This Friday at the sold-out Orangerie, Polish pianist Aleksandra Mikulska, who has been President of the Darmstadt Chopin Society for the past two years, delivered a brilliant performance of works by Liszt, Chopin, and Szymanowski.

A furious passion pulses through the Allegro con brio of Chopin's Etude op. 25 no. 11. Once the last chord has faded away, the audience in the packed Orangerie are no longer able to remain in their seats. They acclaim pianist Aleksandra Mikulska with standing ovations and bravos. (...)

Even the delicate opening phrases of Karol Szymanowski's Prelude op. 1 no. 1 in B minor vibrate with enormous tension. Although the lyrical sonorities are always modelled in fine gradations, they seem to originate from a naturally forward-driving force at their core.

Neither does Mikulska content herself with poetic sound-painting in the D minor Prelude, reminiscent of Skryabin, or the agile C minor Prelude, instead making nothing less than the mystery of creativity the focus of her interpretation. This interpretative power is also reflected in Szymanowski’s Variations in B flat minor op. 3. As subtly as Mikulska lets the elegiac and lyrical moments shine forth, just as powerfully does she shape the dramatic outbursts. Whipping strokes in the bass line alternate with crystalline natural sounds, which are then swept away by a cascade of virtuosically unbridled emotions.

The pianist interprets Chopin's Fantaisie-Impromptu in C sharp minor with the same impetuosity. She contrasts the uncommonly wildly and unpredictably construed A-part with the sublime tonal beauty of the melodic line of the B-part, which she gradually shifts towards transcendence with every repetition. These nuances endow Mikulska's performance with its special quality, which she also masterfully displays in Chopin's softly woven Andante spianato and the simultaneously spirited and elegant Grande Polonaise Brillante op. 22.

21.4.2016 - Wiener Zeitung - Daniel Wagner

"CD - Europäische Freundschaft"

This recording is moving by any standards. A live recording dating from June 2015, made at the renowned Liszt Festival Raiding, not only does it demonstrate the mastery of Polish-German pianist Aleksandra Mikulska in music of the nineteenth century, it also gives a unique account of the authentic dialogue between Liszt and Chopin. Despite her brilliance in the rhapsodies (impressive snapshots: Liszt's Glanes de Woronince), Mikulska neither engages in sensationalism nor indulges in an excess of sentiment in the melancholy episodes of the mazurkas (a deliciously gentle Scherzo in B minor by Chopin). She finds the right balance, a truly authentic coexistence, carried by a refined performance that convinces at all times with its stylistic confidence. There is no room here for platitudes, only for pianism at its very best.

18.4.2016 - Badische Neueste Nachrichten - Ralf-Joachim Kraft

"Dem Publikum hat's die Sprache verschlagen"

Whereby she fully lived up to her reputation as one of the world's best interpreters of Chopin. The maestro would have been delighted by her interpretation of his audacious Grande Polonaise Brillante in E flat major op. 22 with its preceding Andante spianato. She presented this colorful, aristocratic, elegant and dreamy music powerfully, technically brilliantly, transparently, solemnly, and with a dance-like momentum.. (...)
This was unmitigated romantic ecstasy, with sparkling runs, hailing trills, lightning arpeggios, and thunderous chords. A storm of sound at the very limits of the possible.

17.11.2015 - Gießener Anzeiger - Heiner Schultz

"Chopin voller Energie, Schwung und Zartheit"

Aleksandra Mikulska's performance stands out for its distinct personal characteristics and authoritative technical and expressive competence, adding up to a coherence that sets new standards: a godsend. Resounding applause from an enthralled audience.

17.11.2015 - NEUE Vorarlberger Tageszeitung - Anna Mika

"Tastenreiche Rundreise"

She is the dream of a perfect pianist. Out of the keyboard of the Bösendorfer, Aleksandra Mikulska conjures up tenderness and agility, but also boundless power and unbridled virtuosity. All this is never an end in itself. No, it simply pours out of the beautiful soul of this no less beautiful woman and infects the visibly moved audience on these levels.

3.11.2015 - Wiener Chopin Blätter - Daniel Wagner

"Soireé 3.11.2015"

An evening at the august Hotel Imperial that sent a shiver down one’s spine. For this visit by the exceptional Polish-German pianist Aleksandra Mikulska was to be a very special experience indeed. (...)

Enormous, explosive resplendence was also provided by the [Fantaisie-Impromptu in] C sharp minor op. 66, which was neither a mere fancy nor a “simple” fantasy. Indeed it was nothing less than the hoped-for pièce de résistance – at the same time affording an insight into the noble range of sonority in the music of Frédéric Chopin.

Here in Vienna, Mikulska once again did full justice to her reputation as a great interpreter of that other composer-piano virtuoso. The entire virtuosity of Liszt could be experienced in the concert étude La Leggierezza and in rhapsodies Hungarian and Spanish. He was also represented in “solidarity between peoples” mode in his beloved Polish melodies Glanes de Woronince. The central Mélodies polonaises, for example, was unbelievably profound, by far surpassing the virtuoso element. A wonderful Viennese concert evening thanks to the brilliant Aleksandra Mikulska.

5.10.2015 - Nordbayerischer Kurier - Frank Piontek

"Vollendete Interpretationskunst"

One can justly claim of Mikulska's hand what Clara Schumann once said about Brahms's: "a beautiful hand, which plays the most difficult pieces with ultimate ease." And thus what we heard was not just technically demanding, more or less meaningful tinkling, but deeply felt music. (...)
This is the characteristic feature of the pianist. To place every note in its meaningful position in the overarching structure. No, music is never logical, but Aleksandra Mikulska plays Brahms, Chopin, and, as a hearty dessert, even Liszt with a deep feeling for unnameable stories. (...)
Is there any such thing as a specifically Polish interpretation of Chopin? If it sounds as it does in Mikulska’s hands, then yes, a very moving one.

20.7.2015 - Fränkische Nachrichten - Manfred Stock

"A very special sounding thunderstorm"

The audience were delighted not only by her technical skill, but also by the enormous expressiveness that she coaxed from the keys as she conformed to the composer’s intentions without foregoing a creativity of her own.

28.3.2015 - Erlanger Nachrichten - Sabine Kreimendahl

"With smart charm"

The young Pole scintillated in the truest sense of the word in great works by Chopin and Liszt. Hard work both physically and mentally, mastered with an amazing naturalness. Maestros Chopin and Liszt would have enjoyed themselves as well.

6.2.2015 - Rhein-Neckar-Zeitung - Detlef Brötzmann

"Intuitiv, temporeich, brillant"

Her concert leaves a deep emotional impression, for her performance on the concert grand is characterized by expressiveness and virtuosity, by empathetic devotion to the great composers of the Romantic era: Frédéric Chopin, Franz Liszt, and Karol Szymanowski.
Aleksandra Mikulska realizes the energy and poetry inherent in Chopin's and Liszt's music. She almost seems to embody the composers themselves in the perfectly structured, brilliant way in which she resurrects their music.

16.1.2015 - Böhme Zeitung - Dorit Müller

"Pianistische Glanzleistung verzaubert das Publikum"

Her passionate interpretation of the compositions made the audience hold their breath before thanking the splendid keyboard virtuoso with abundant applause. Magnificent, fantastic, phenomenal, uniquely beautiful – a judgment that was shared by all.

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