Imogen Cooper

News & Press

  • 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


  • Daily Telegraph, Australia

    01 September 2017

    Live reviews

     "Cooper brought poetry, along with elegance and plenty of heft when needed, to her performance"

    Steven Moffatt, Daily Telegraph


    "Beethoven’s pauses and switches between mysterious cloudy chords and almost Mozartean melodic lines were astutely judged, as was the tricky forward momentum"

    “This performance was beautifully structured with Cooper pinpointing the poetic highlights and maintaining the build-up to the life-affirming fugue in the final movement.”

    Steven Moffatt, Daily Telegraph

  • Chicago Tribune

    30 June 2017

    Live reviews

    "Glover's soloist was her fellow Briton, pianist Imogen Cooper, a longtime friend and colleague who has appeared regularly with Music of the Baroque over the past dozen years. Together they delivered a Mozart concerto, No. 25 in C major (K.503), that was beguiling from beginning to end.

    Cooper has long been one of the world's most eloquent and stylish Mozarteans, like her teacher, Alfred Brendel. Yet her approach to the C major concerto was very much her own — forthright in formal outline, firm yet elegant in tone, crystalline in articulation and chordal voicing, sensitive to the subtlest inflections of rubato, color and dynamics. Cooper and Glover's shared sensibility worked entirely to the benefit of this most grandly symphonic of Mozart's final keyboard concertos."

    John von Rhein, Chicago Tribune, April 2017