Imogen Cooper

News & Press

  • Financial Times

    27 September 2019

    Articles

    Michael Church, BBC Music Magazine, November 2019

    ‘The life of a solo pianist is a dysfunctional one’

    Ahead of playing Schubert’s last three piano sonatas, the musician talks candidly about the sacrifices she has made.

    By Hannah Nepilova

    Read full article on FT.com 

  • BBC Music Magazine

    01 May 2019

    Record reviews

    BBC Music Magazine, May 2019

    “Imogen Cooper describes the work as ‘a wonderful journey’… and that is what overwhelmingly comes over in her superb recording… from Variation 29 to the end of the work it all segues like one meditation. Cooper never goes for effect per se: her goal is purely expressiveness.”

    Performance: *****
    Recording: *****
    ‘Instrumental Choice’

    Michael Church, BBC Music Magazine, May 19

  • Gramophone Magazine

    01 May 2019

    Record reviews

    “It takes real artistry to apply such subtle variations of expressive pressure from phrase to phrase as Cooper delights in. Every detail here is patiently appreciated and gracefully addressed: neither self-regardingly spelt out nor diminishing pieces to the status of a mere appetiser… Chandos’s recorded sound has a natural glow without ever compromising clarity.”

    David Fanning, Gramophone Magazine, April 2019

  • The Times

    19 March 2019

    Record reviews

    “She brings drama to the [Diabelli Variations] allegro pesante e risoluto (No 9) and a rapt unfolding of Beethoven’s most profound thought in the three slow variations (Nos 29-31), which comprise the emotional climax of the piece. Cooper’s technical command and musical insights are up there with those of her mentor, Alfred Brendel, or Stephen Kovacevich, and her thoughtful, melancholy delivery of the famous, enigmatic Für Elise is a delectable encore.”

    Album of the Week, Hugh Canning, The Times, 17 March 19

  • BachTrack

    12 March 2019

    Live reviews

    “When Cooper entered, the magic happened, her sound contrasting with that of the orchestra akin to the coming together of two hugely different flavours one wouldn’t necessarily think of matching, but that when combined provide the most delicious sensation. The first movement was full of grandeur and the cadenza flowed from Cooper's fingers effortlessly; the second was full of operatic drama, blemished horns only momentary breaking the spell; the third slightly leisurely, but full of colour and the most stylish phrasing. Cooper's careful pedalling ensured left-hand phrasing and articulation was clear and shaped throughout, her tone clear and the balance between the hands illuminating the different textures of Mozart’s keyboard writing.”

    Leighton Jones, BachTrack