Concert Reviews

“A concert of great success last night at the TeatroSociale in Fasano … Protagonist Brazilian Clelia Iruzun, a very talented pianist who paid tribute to the audience with a program of Latin American and Spanish pieces. Iruzun offered music by Villa-Lobos, Nazareth, Mignone and Lecuona demonstrating an exuberant pianistic texture. ”
Osservatorio, May 2015

“A little joy, a dose of passion and a pinch of magic, all amalgamated with great technique. The result is Clelia Iruzun. .. She literally charmed the audience at Fasano … Clelia Iruzun showed all her talent, playing with amazing virtuosity. ” May 2015

“The third concert, in a series curated by the pianist Clelia Iruzun, was presented to an enthusiastic audience at the Bolivar Hall….the concert continued exploring the oeuvre of Mignone. This is a composer close to Clelia’s heart, and she took centre stage to present the pianistically varied, 6 Transcendental Studies. These pieces expressed colour and abstract effects rather than pianistic virtuosity…they were like miniature tone poems, which explored fascinating and individual Brazilian worlds, to which Clelia responded with a heartfelt warmth. MarlosNobre’s… in his Sonata on a Theme of Bartok pianistically demanding Toccata, stood alone most effectively. Clelia clearly revelled in this pianistic tour de force, which she executed with great elan.”
Ray Picot, ILAMS, ‘Brazil Three Centuries of Music’ at the Bolivar Hall On 6th November 2013

“This was, simply, one of the best piano recitals I’ve heard in many a long year. She has an easy manner and good rapport with her audience, and we all enjoyed this programme of mainly South American music, plus magical, unforgettable Chopin.”
Peter Grahame Woolf, Musical Pointers, 3 June 2013

“I doubt if the works in this programme could have received better performances. These are two musical and technically assured artists.”
Robert Scott, Musical Opinion, May/June 2012 (Recital in duo with violinist Nadia Myerscough)

“The final concert of the Clitheroe Concert Society proved another fascinating evening and closed a remarkable season on the highest level possible. The first half of the concert was devoted to Chopin…There was a considerable buzz of excitement at the interval, not only because of her astonishingly effortless and accurate playing but in particular her fine interpretation of these works.”
Ken Geddes, Clitheroe Concert Society, April 2011

”Clélia Iruzun, a one-time pupil of Nelson Freire, is domiciled in London and has established a reputation in South American music with discs of Lecuona, Mignone and Villa-Lobos. She opened the evening with four piano pieces, the earliest the deliciously Chopinesque Tango brasileiro by the short-lived Alexander Levy (1864-1892)…there followed the energetic Dança de Negros by the wonderfully named FructuosoVianna (1896-1976), and a similarly energetic DançaNegra by Camargo Guarnieri (1907-1993)…Less unfamiliar is the music of Villa-Lobos (1887-1959), one of the most prolific composers. Festa no Sertão (1936), an extended piece, is sometimes translated as Jungle Festival. It makes considerable demands on the pianist. Iruzun despatched it with an insouciant panache.
Classical Source, Douglas Cooksey, Purcell Room, London, 24th November 2011

“As a tribute to her adopted land Clélia Iruzun performed some English composers in her latest recital in Rio de Janeiro. Two of them were entirely unknown to the Brazilian audiences. Arnold Bax, impressionist, wrote with extreme good taste his Nereid and York Bowen, considered the Rachmaninoff of this island, showed us in four Preludes a romantic and flamboyant language, in a way influenced by the Russian master. But the highlight of the programme was her Chopin, the First Waltz, Op.18 and the Barcarolle. Clélia demonstrated in both works a beautifully crafted performance, establishing varied moods of convincing sensibility.”
Carlos Dantas, Tribuna da Imprensa, Rio de Janeiro, August 2006

‘She began with five Songs Without Words by Mendelssohn. These were musically phrased and projected. Schumann ÉtudesSymphoniques then followed: this was a very different musical proposition and notable for its sense of structure and innate power…

The second half began with the UK Premiere of the Piano Sonata by JoãoGuilherme Ripper, a contemporary Brazilian, dating from 1994. This was a most effective and well written piece, very well laid out for the keyboard and I look forward to hearing more of this interesting composer’s music in the future. Finally the Suite Andalucia by Ernesto Lecuona which contained two of his most popular melodies, Andalucia and Malgueña. Clélia was clearly in her element in this music which she played with brilliant virtuosity and great aplomb.”
MUSICAL OPINION, recital at the Wigmore Hall on 12 June 2005

“Clélia can play as light as a butterfly flies in the sky as well as bring the audience to great excitement with her brilliant performance.”
Dong Fang Daily, Zhenzhou 2005

“Last night the pianist Clélia Iruzun played a wonderful concert. The variety of repertoire with the classics and Brazilian works were a new experience for the people of Shanghai.”
Xinming Evening News, Shanghai 2005

“The pianist seemed to have more than ten fingers and her hands danced on the keyboard.”
Chengdu Evening News, 2005

“The famous Brazilian pianist Clélia Iruzun gave the best concert in the international Series of the Beijing University. We hope we will have more concerts with her in the future.”
Beijing University News, 2005

“Not in a long time have we had such a joyful concert in this city.”
Yangtze Evening News, Nanjing, CHINA, April 2004

“The pianist Clélia Iruzun brought us an unforgetable evening.”
Shanghai East, CHINA, April 2004

“Clélia Iruzun is a great ambassador for Brazil, which was no better demonstrated than in her opening piece. Villa Lobos Fourth Bachianas Brasileiras. The Prelude was finely executed, it’s varied shades considered and aptly defined. The First Ballade by Chopin was a stylistic delight. Iruzun’s mellifluous technique melding notions into a dreamily clad whole.”

“The Piano Concerto No.1 by Mendelssohn became an experience with the brilliant soloist. Clélia Iruzun has an ardent but controlled temperament that came in handy in the first movement… In the third movement there was an unbelievable finger work in a rapid fresh tempo again. But not for one second she lost the clarity.”

“Beethoven 3rd Piano concerto was played with crystal clear technique and highly developed musicality”

“Brilliant and romantic interpreter of Beethoven, Chopin and Scriabin”
COURIER, Tunbridge Wells, UK

“The lyricism pours out with the clarity of crystal; the piano masterly touched… Magnificent the Prelude and Aria from the Bachianas Brasileiras”

“In the Allegro maestoso (Chopin Concerto No.1) her phrasing was exquisite, with refined touches of pedal, ending with a brilliant Coda; Clélia played the Larghetto with great variety of colour and in the Rondo Vivace she was exquisite again playing with great virtuosity… Her Concerto was serious, without unnecessary affectation and rigidity; she seems to caress the notes and everything in her playing is spontaneous and natural”
EL DIA, Zaragoza, SPAIN

“The Mephisto Waltz sounded as if the composer himself was playing it… The Mozart Variations on a Theme by Duport were impeccable”
O GLOBO, Rio de Janeiro, BRASIL

“A recitalist who seemingly puts no more physical effort into playing the piano than it takes to read the newspaper, yet somehow produces sounds which go from stage whispers to tones of laser-beam strength… Schumann’s Etudes Symphoniques, grandly conceived, her interpretation reached the audience in well-packed maturity… Iruzun brimmed with fresh ideas and an untiring technique”

“It takes a pianist with confidence and courage to take on the “Wanderer” Fantasy of Schubert. On this occasion Miss Iruzun came through with flying colours. The moments of power were impressively controlled and the more reflective passages wonderfully tinged with romanticism. The Scherzo scintillated and the final Fugue played with commanding strength… Finally to Spain and two of the Goyescas of Granados: The Maiden and the Nightingale and the El Pelele fittingly concluded an evening of splendid virtuosity”

“CléliaIruzun’sWigmore Hall recital on 6th July confirmed the presence of a genuine musician with definite ideas about music and its performance.
Mendelssohn’s Variations serieuses is not performed as often as it used to be, yet offers food for both mind and fingers, a meal eagerly set before us in a performance alternately sparkling and thoughful. Schubert’s Wanderer Fantasy took us into deeper waters, safely navigated by Iruzun in a well constructed and convincing reading. Before Liszt’s Mephisto Waltz brought this recital to a dazzling close, we were invited to savour some goodies from Spain and South America, with Villa-Lobos’ Valsa da Dor proving the most exciting.”

“The Mozart Variations K265 were given a sparkling performance, contrasting well with her moving interpretation of Schubert’s Frulingsglaube. Music by her countryman Villa-Lobos was given the authentic treatment, and an exhilarating reading by the Argentinian composer Ginastera, requiring considerable dexterity, rounded off an excellent concert.”

“The distinguished Brazilian pianist Clélia Iruzun gave a well-planned recital launching her new CD The Waltz Album. Each piece was played with considerable virtuosity and insight. Villa-Lobos’ Waltz of Sorrow was suitably dour and music by Mendelssohn, Chopin and Liszt, all played with considerable musicianship.”