SOLO RECITAL
October 18, 2020 at 2:00 pm
Druckerei Baden
Zürich, Switzerland
PERFORMANCE WITH THE LONDON PHILHARMONIC ORCHESTRA
October 23, 2020 at 7:30 pm
Royal Festival Hall
London, UK
SOLO RECITAL
February 16, 2021 at 8:00 pm
Konzerthaus, Werner-Otto-Saal
Berlin, Germany
PERFORMANCE WITH THE CALGARY PHILHARMONIC ORCHESTRA
PERFORMANCE WITH THE CALGARY PHILHARMONIC ORCHESTRA
April 25, 2020
“ASTONISHING”: WIGMORE HALL RECITAL REVIEW IN INTERNATIONAL PIANO MAGAZINE
“I’m not often lost for words, but Nicolas Namoradze’s recital almost defeated me… From the opening phrase of Scriabin’s ‘Black Mass’ sonata he had me hooked: those notes had honeyed grace, and the rest of the work unfolded in an opalescent glow, every bar being touched with beauty. I’ve never heard this puzzling work make such persuasive sense…
“Namoradze then segued into Bach, with the Ninth Sinfonia followed by the sixth Partita whose Toccata led majestically on to six movements; the closing Gigue, which turns itself upside down and inside out, came with an exultant craziness which was never less than technically immaculate…
“If the virtuosity was dazzling, Namoradze’s own studies, which seemed like a continuation of Bowen’s, were doubly so. Finally five Scriabin encores delivered with a seraphic smile: through a slightly-open door we could see him literally jumping up and down with excitement in the backstage moments between coming back on and astonishing us. Come back and astonish us some more.” — Michael Church
March 3, 2020
“ALCHEMIST TRANSMUTES NOTES TO GOLD”: BOSTON RECITAL REVIEW IN MUSICAL INTELLIGENCER
“Alchemist Nicolas Namoradze brought his lab of chromatic arts to the filled-to-capacity Calderwood Hall on Sunday, wearing his transmuting intentions on his lab apron sleeve…
“He articulated [Scriabin’s 9th Sonata] truly idiomatically, with proper stormy outbursts and the sense of exhaustion in the final bars…
“Namoradze’s own Etudes are virtuosic works; they evoked Ligeti’s Etudes, though much lighter in mood throughout. Engaging and brilliant, with names from Major Scales to Double Notes, they ironically suggested the theme of having fun during inevitable long practice sessions. But they also served as ample vehicles to demonstrate the composer’s wit along with digital prowess.” — Victor Khatutsky