An outstanding feature of the concert throughout was the range and quality of tone produced by both performers, qualities well showcased in their solo items by Telemann and Nikolai Medtner.
The darkness of Prokofiev’s Sonata was particularly well-captured...outstanding!
- Vanessa Latarche
Head of Keyboard at Royal College of Music London, concert pianist
A great deal of imaginative orchestration, with lyricism and character. (Prokofiev)
The playing showed sensitivity and musicianly instincts – a thoughtful and well-constructed interpretation. (Beethoven)
- Peter Tuite
concert pianist
Bach was played with much authority, sincerity, poise and control.
- Deniz Gelenbe
concert pianist & chamber musician, Professor of Piano at Trinity Laban Conservatory
This was a highly enjoyable and engaging performance, which demonstrated a satisfying variety of characterisation, touch and colour, subtle and expressive phrasing, and innate understanding of not only the lyricism, but also the wit present in this music.
- Rustem Hayroudinoff
concert pianist, Professor of Piano at Royal Academy of Music London
Radić was a fine ambassador for the Medtner pieces, beautifully played and responding to the mood swings with commitment and imagination, supple rubato and a warm inviting sound: the tricky shifts of story-telling in the final one were particularly well handled. An absorbing performance. This approach was also a perfect match for the Rachmaninoff Preludes. By turns these were exquisitely shaped and impressively virtuoso. Nos 4 and 6 were exemplary in balance, shaping and pacing, idiomatically played with heartfelt rubato and lovely colours. Nos 2 and 5 were thrilling with deep tonal resources…Nos 1 and 3 responded so well to the harmonic shifts and brooding atmospheres, and no.7 was passionate and intensely dramatic. This was a pleasure to listen to from beginning to end, playing of a really high standard.
- Nigel Wilkinson
concert pianist, teacher, adjudicator, former senior producer for Radio 3
A poised and warm-hearted reading, which struck a personal note. (Faure) . . . An alert and alive Prelude which always said something . . . the Fugue had a really jaunty dance-like character. (Bach) . . . considerable passion and authority, with a beautiful sound. (Scriabin)
- Andrew Ball
concert pianist & professor at Royal College of Music London
. . . honesty in approach to the programme . . . quiet innocence
. . . beautifully done.
- Tim Gill
principal cellist with RPO
& London Sinfonietta
The Five Bagatelles displayed a great sense of poetry and understanding of the style and essence of this music, with depth and nuances of colour.
- Luis Pares
concert pianist, Head of Keyboard at Dulwich College
From the outset this was playing of authority and imagination. The Medtner Fairy Tales were very characterful…very convincingly played. In the Rachmaninoff the playing was musical, passionate and totally committed…Playing of exceptional quality and very moving to listen to.
- Vanessa Latarche
Head of Keyboard at Royal College of Music London, concert pianist
The Fantasie (Bach) was persuasively free . . . always sensitive to the harmony. Attention to detail and richness of polyphony made for a compelling Fugue.
. . . Beautifully clear textures . . . Graceful and assured, and performed with most attractive limpid tone. (Ravel)
- Ian Jones
Deputy Head of Keyboard at Royal College of Music London, concert pianist
Music festival secretary, Felicity Kamminga, described Irena’s talent as startling and her performance capable of creating an electric atmosphere.
- Peterborough Evening Telegraph