Imogen Cooper

News & Press

  • Evening Standard

    23 December 2019

    Live reviews

    Best classical music shows of the year 2019:

    “Some people celebrate their 70th birthday by skydiving, others with afternoon tea at the Ritz. The much-loved British pianist Imogen Cooper chose to play Schubert’s final three sonatas in an extended tripartite recital...One of the things that is special about Cooper’s own playing is that timeless, unhurried quality.”

    Evening Standard, 23 December 2019

  • New York Review of Books

    29 October 2019

    Live reviews

     "They say there are some musicians who are admired, and some who are loved. Imogen Cooper is very much admired, not least by other pianists, but as she marks her seventieth birthday on August 28, there can scarcely be any musician alive who is more truly loved."

    Geoffrey Wheatcroft, New York Review of Books, October 2019

  • Evening Standard

    23 October 2019

    Live reviews

    Barry Millington, London Evening Standard, 23 October 2019

  • The Arts Desk

    23 October 2019

    Live reviews

    “There is perfection in the way that profound sadness is finally transcended by a shift into heavenly major-key light, and it needs equal perfection, anchoring and inwardness in the playing. That Cooper achieved those qualities at the most profound level - the ideal of time becoming space - meant that the last two movements could seem superfluous: as in the "Unfinished" Symphony, Schubert seems to have said enough at the midway-point. Hyper-alertness and that unique diamantine quality Cooper's right hand brings to the upper register kept us hooked, though, to the headlong conclusion. For the bows, a standing ovation the Wigmore audience rarely grants, passionate devotion and gratitude, but no fuss. A place among the immortals is assured, but there are hopefully many more years of pianistic revelations to come.”

    David Nice, The Arts Desk, 23 October 2019

  • 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