Imogen Cooper

News & Press

  • The Classical Review

    09 March 2019

    Record reviews

    “This is something special. It shouldn’t be surprising to anyone following Imogen Cooper’s superb series of albums for Chandos in recent years, but Cooper exemplifies here again a lifetime of experience and depth of execution in the classical solo repertoire… When all is done, there is a sense of greatness here; of the performer, who knows the ins and outs of the score but resists the temptation to lecture it; of the composer and, most importantly, the greatness of the composition, a testament to a great artist at play.”

    Tal Agam, The Classical Review, 9 March 2019

  • The Sunday Times

    01 March 2019

    Record reviews

    “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.”

    The Sunday Times, 17 March 2019

  • BachTrack

    23 November 2018

    Live reviews

    "The tarantella finale has a mesmerising, maze-like architecture. Cooper was not manic, and this was no dance of death; this was cooler, more cerebral, sketching the music’s enigmatic guile, with its evasive chromaticism and tricksy hand-crossings. Some may crave little more madness in their Schubert, but Cooper weaves the thread that charts the sonata’s labyrinth, communicating the way this music constantly confronts us with dead ends and sudden turnings that lead nowhere; her late Schubert is a music of jerky juxtaposition, taking us to the heart of a most perplexing landscape.”

    Benjamin Poore, BachTrack

  • The Arts Desk

    26 June 2018

    Live reviews

    "Cooper’s legato here transformed the piano into a Lieder singer of superhuman powers; and such is her ability in polyphonic playing that often through the course of the work one could hear how close some of the writing is to that in the composer’s late string quartets. The culminating fugue powered along, indomitable, before the final moment of anguish that ushers in a last, transcendental minuet. This was expertly shaped and finally left us hovering in mid air, almost scared to breathe."

    Jessica Duchen, The Arts Desk

  • The SunBreak, Seattle

    16 March 2018

    Live reviews

    “First-class pianists are plentiful, judging by the number of them who come through Seattle every year, either in recital or playing with the Seattle Symphony. Each of them is rewarding to hear, even though it is impossible to go and hear all of them. But among this pantheon of very fine musicians, a few stand out. Imogen Cooper is one of them…

    What’s so special about this 68-year-old British performer? Cooper’s playing draws the listener in. She is never bombastic, although she can and does encompass the entire volume range, but always, always in service to the music. Every note seems to be considered for itself and its place in the overall phrase…

    She brought out the differences in each individual Beethoven bagatelle, from gentle to staccato, assertive to bouncy. The second movement of the well-known Haydn sonata had an introspective feel effective at the slower tempo, while the Haydn Variations felt full of light, and she somehow caused the notes to ring like small bells, while at the end, there was a sense of pain and mournfulness. It ended very quietly.”

    Philipa Kiraly, The SunBreak