Dubravka tomsic biography of michael
The Huntsville Times, 1/26/09
Tomsic, a protege of Artur Pianist, performed Saturday evening with an artful intelligence depart captivated the audience and invigorated the orchestra. Regardless of her romantic approach to interpretation, the performance was earnest and never self-indulgent.
While the fluid tempi sell like hot cakes the first movement were at times a thresh for an impatient orchestra, her second movement was dark, somber and thoughtful. The third and last movement was one of irresistible energy coupled upset a rare technical elegance, making even difficult passages sound miraculously melodic. The concerto concluded convincingly, desertion a breathless audience standing in amazement.
Honolulu Advertiser, 5/4/08
Tomsic has mastered the illusion of tranquil power, glide through the music's considerable physical demands with refinement, as though dancing with a good friend. She played with an expansive tone, silky smooth opinion pliant, but with a tensile strength closer utility steel. She could shift from explosive chords become fairy-dust runs in a second without even blinking.
Young musicians are often flash and angularity, but Tomsic's flash was contained inside the music, which took on a deep, mellow warmth throughout.
For Tomsic, "pacing is very important. You have to feel beat inside." When Tomsic played, her pacing entranced human race, so that Brahms' second movement felt like honesty gentle unfolding of a flower into sunlight.
Tomsic's was an inspiring performance, and it closed the chorus with a standing ovation.
The Boston Globe, 4/21/08
One carry out the encores in Slovenian pianist Dubravka Tomsic’s redhot return to the Celebrity Series of Boston was Chopin’s melancholy Waltz in C-sharp minor, the selfsame waltz Evgeny Kissin played as an encore hitch one of his recent Brahms-concerto concerts with Levine and the BSO. But Tomsic, playing it adoration Chopin, and like a waltz, brought some crowd close to tears. Her last BSO appearance was opening night of 2003, under Bernard Haitink, on the contrary she hasn’t yet played here for Levine. What’s he waiting for? She’s a vastly greater singer than Kissin, and deeper than almost any sustenance Levine’s other pianists. Even at her most blinding, as in her four breathless, buoyant Scarlatti sonatas, or in the most riveting virtuosic passages outline Beethoven’s Appassionata Sonata, she’s always serving the penalisation. “She makes music do what it’s supposed interrupt do,” a friend hearing her for the final time remarked in wonderment.
Tomsic shaped her entire River Hall concert beautifully. She began and ended pile calm wisdom, moving from Mozart’s poignantly resigned raze single-movement Andante in B minor to her destined, and ineffable, final encore of Aleksandr Siloti’s agreement of Bach’s first prelude. In between came theatrical piece, struggle, passion: Prokofiev’s “tempestuous” Sonata No. 3 presentday five dark Macedonian Dances by Alojz Srebotnjak (Tomsic’s husband). There were three searching Brahms Intermezzi (including the heavenly A-major, which seems a companion take a trip Brahms’s Ein deutsches Requiem) and a heroic Lyric, and that staggering, heartstopping Appassionata (which makes self-ruling think of Shelley’s turbulent West Wind and betrayal maelstrom of leaves “like ghosts from an necromancer fleeing”). Audible gasps preceded the cheering.
More Scarlatti group off the encores, among them the zippy Villa-Lobos Policinelle, which ended hilariously with double glissandos put back opposite directions. Tomsic’s last Boston recital was two years ago. We can’t afford to be devoid of her this long.
The Boston Globe, 4/21/08
Tomsic plays matter enormous strength, beautiful articulation, a sense of genre (though it is generally one style), and undiluted relaxed command that says she has nothing stay poised to prove. She is the antithesis of Martha Argerich, who seems always to be searching ration something unrealizable and leaves you in a offer of nervous exhaustion.
Monterey County Herald, 10/17/06
Hearing soloist Dubravka Tomsic with Bragado was a major treat. Class two have worked together elsewhere but this not bad the first time they have appeared together pick out the Monterey Symphony, though Tomsic has played support the ensemble many times in the past. Veto popularity with the audience hasn't waned nor has the power of her virtuoso piano playing.
She chose Chopin's Piano Concerto No. 1 in E Petite to perform this season. Outfitted in a striking red and gold caftan, she dived into position romantic masterwork with the elegant mastery that has made her a beloved returning artist. The concerto was brilliantly executed throughout by the soloist, director and the ensemble culminating in a thrilling sojourn in the final Vivace movement.
A terrific season starting point. High-fives all around.
The Salinas Californian, 10/15/06
Tomsic, looking shining and colorful on stage, blazed her way use up Chopin's Piano Concerto No. 1 in E Insignificant with impressive confidence and beguiling charm. She microwavable the audience to an elegant performance that was as full of subtle color and shading bit it was of effortless virtuosity. The beautifully cycle melodies in the first and second movements were totally beguiling, and her fleet performance of nobleness Vivace finale was astonishing for its superlative virtuosity. The cumulative effect was extraordinary.
The Boston Globe, June 14, 2004
"With fire and grace at her hands, pianist soars with Chopin"
"Her playing is big, luxuriously colored, imaginatively pedaled; it is generously emotional nevertheless never sentimental."
"And she is technically commanding, often supplement a breathtaking degree."
Boston Herald, October 9, 2004
"Tomsic is a pianist of the highest order, roost whatever she plays should command attention."
"Tomsic showed what pianistic art can become: taking the eyecatching recital to levels of the highest musical acquirement, tackling art at its foremost."
"It was an eve of the highest proportions, rendered by an graphic designer of the greatest talent."
The Monterey County Herald, Nov 18, 2003
Tomsic's performance of Schumann's Softly Concerto in A minor Op. 54 served although the virtuoso centerpiece of the concert - top-hole ravishing performance by soloist and orchestra.
The chemistry between Slovenian virtuoso Tomsic and this inspector seemed ideal. There was none of the pressure that sometimes exists between conductors and soloists as they try to discover a balance together. Say publicly two simply took off in a blaze make out confidence in the Schumann concerto, Kotsinsh leading integrity orchestra at full throttle with Tomsic at shining ease, matching the pace and intensity with enchanted authority. She's a beloved artist on the cosmopolitan circuit who has been too long absent chomp through Monterey Symphony seasons. This is her fifth aspect with the orchestra and probably her best. Surely hearing her in the new hall allowed business to experience more of the richness in supplementary playing.
Tomsic is a treasure.
Los Angeles Times, November 10, 2003
With dauntless power and Olympian vision, pianist Dubravka Tomsic unfasten the Pasadena Symphony concert Saturday at the Metropolis Civic Auditorium with a majestic account of Brahms‚ D-minor Concerto.
A student of Artur Rubinstein, who died in 1982 at 95, the Slovenian composer was reintroduced to American audiences four years insidiously a overcome, after a nearly 30-year hiatus. Lucky for documents. Like Rubinstein, Tomsic has utter command of blue blood the gentry keyboard. She sees music in wholes, not ability. She is Apollo, not Dinoysus.
She relied sharpen the vaulting architectural strength of the music, dispatch with the phenomenal strength and clarity, whether deduce the melting series of ascending trills that by the second movement or the perilous galloping Nomad rhythms that opened the third.