Imogen Cooper

News & Press

  • The SunBreak

    30 April 2016

    Live reviews

    "The musical delicacy of Cooper’s piano, contrasting in the first movement between sharp-edged, almost bouncy notes and limpid legato phrases, and the firm, in-your-face chords of the orchestra gave way in the second movement to a completely different more pensive feel, in which Cooper’s phrasing and pedaling were exquisitely shaped. The final movement with its total change of mood to carefree sunniness brought the concerto, Morlot and Cooper seemingly thinking identically, to a supremely satisfactory conclusion. The audience surely thought so, bringing Cooper back for four bows."

    Philippa Kiraly, The SunBreak

  • BBC Music Magazine

    01 November 2015

    Live reviews

    BBC Music Magazine, November 2015

  • The Times

    25 September 2015

    Live reviews

    …Heaven’s doors opened: Haitink and Imogen Cooper were embarked upon Beethoven’s First Piano Concerto. In temperament these musicians — clean, penetrating, liable to understatement — are alike as two peas. Nothing could ruffle this music’s Mozartian spirit or smudge the chiselled contrasts between muscular shout and pianissimo sigh.

    Geoff Brown, The Times

  • Classical Source

    23 September 2015

    Live reviews

    Imogen Cooper at the piano, gave a bold, confident reading of the Concerto, underlined by the use of wooden sticks on the timpani. At times it was as though a torrent of notes came from Cooper’s fingers (particularly in the first-movement cadenza, the longest of Beethoven’s three) and the deeper registers of the piano also came off quite densely.

    Curtis Rogers, Classical Source

  • Seen and Heard International

    15 September 2015

    Live reviews

    She showed a remarkable ability to bring out and blend the slightly ambiguous qualities of this work – its basic Classical qualities rooted in the tradition of Mozart and his time, and a more forward looking, expressive style of composition. Her playing in the first movement had an attractive crispness of execution, with elegant phrasing and piquant rhythms: every phrase came to life vividly. In the middle Largo movement Cooper showed her outstanding ability to maintain tension and momentum in music that has a slow pulse. This and her beautifully turned phrasing combined to create a reading of this movement that gave rare pleasure. The last movement had a quality of uplifting joyousness that provided both effective contrast with what had gone before and a satisfying conclusion to a most stimulating performance.

    Alan Sanders, Seen and Heard International