Imogen Cooper

News & Press

  • Berliner Zeitung

    02 June 2017

    Live reviews

    …Imogen Cooper, lamentably rarely to be heard in Berlin, who, on Wednesday, played Mozart’s Piano Concerto in C major KV 503: with a purity that is as much a matter of the heart as it speaks to the mind, with a great deal of flair for Mozart’s escapes from the harmonic corset, which Cooper interprets as an escape into imaginary worlds. Her sound, otherwise so eminently precise, is suddenly and magically veiled. Firstly, Thomas Adès' Suite to his opera Powder Her Face, a fabulously entertaining piece, comic-like and literally sparkling with punch lines and surprises; followed by Sacre, where conductor and orchestra beat each other black and blue. Simply gorgeous.

    Clemens Haustein, Berliner Zeitung

  • Boston Classical Review

    06 November 2016

    Live reviews

    “Imogen Cooper remains one of the leading pianists of her generation. Her performances, especially those of Classical and Romantic repertoire, invariably glow with an expressive nuance.

    In the three pieces from Albéniz’s Iberia, Cooper worked in dreamy textures, the music conjuring a landscape as if viewed from a distance. The interrupting dissonances at the end of “Evocación” hovered over the stage in a cloud of overtones. “El Puerto” was a playful dance with delicate rubato shading, and “Fête-Dieu à Seville” conjured a festive street march, which Cooper built to a celebratory climax.”

    Boston Classical Review, November 2016

  • New York Times

    16 July 2016

    Live reviews

    Ms. Cooper sustained attention admirably, adding rhythmic interest with subtle touches of rubato (well, not so subtle in the Scherzo). Many performances of this sonata prove memorable for the beauty of individual moments. This one stood out in making the work a satisfying whole.

    James R. Oestreich, New York Times, 10 May 2016

  • Seen and Heard International

    20 June 2016

    Live reviews

    Imogen Cooper performed as part of the Southbank Centre’s International Piano Series at St John’s, Smith Square, London on Schumann's birtday, 8 June 2016

    A veritable kaleidoscope of colours was to be heard even in the first piece, announcing a grand manner that not only suited the work surprisingly well but also laid some of the groundwork for Liszt in the second half. Cooper’s leaning into phrases and her weighting of them always intrigued and, far more often than not, satisfied.

    Mark Berry
    Seen and Heard International

  • Classical Source

    19 June 2016

    Live reviews

    Cooper caught very well the music’s ethereal quality with flowing, lyrical playing revealing great sadness.

    Brian Barford, Classical Source