Wednesday, July 7, 2010

Concert Reviews updated

“Kotaro Fukuma’s performance of Schumann’s Concerto in A was an exercise in elegance and beauty.”
-Salt Lake Tribune, Salt Lake City, July, 10

“Having Fukuma in the final round is a treat. Everything is in his favor, and he’s a real power right now.”
-Deseret News, Salt Lake City, July, 10

“La poésia de la claridad y del color”
-Diario de Sevilla, Sevilla, June, 10

“Fuerza expresiva”
-Heraldo de Aragón, Zaragoza, March, 10

“Fantástico Fukuma”
-La Nueva España, Oviedo, April, 10

“Kotaro Fukuma präsentierte Poesie am Klavier”
-Wilhelmshaven Zeitung, Wilhelmshaven, January, 10

-月刊ショパン、Tokyo, February, 09

-音楽現代、Tokyo, December, 08

-音楽の友、Tokyo, December, 08

“con un estupendo concierto K.488 traducido con claridad de concepto y espléndidos recursos interpretativos que alcanzaron su mejor momento en el adagio en el que puso bellos acentos expresivos.”
-El Diario Montañés, Santander, August, 08

“Fukuma combines the technical virtuosity with a superb musical sensibility and sensitivity that brings the emotional impact of the works to the surface. The music scene nowadays is overwhelmed with talent and virtuosity but nothing to compare with this young man.”
-The Churchill Society, London, June, 08

“Exceptional pianist offers dash and nuance.”
-Herald Tribune, Sarasota FL, April, 08

“Fukuma is in the first place a man of sound, imperturbable in his pursuit of sonority.”
Thys Odedaal, Hilton, February, 08

“The pianist displayed a faultless technique and musicality of the highest quality throughout.”
-Die Burger, Cape Town, March, 08

“Japanese pianist left an insightful impression of well-considered musical integrity.”
-Volksblad, Pretoria, March, 08

-音楽の友、Tokyo, February, 08

-音楽現代、Paris, September, 07

“Le jeune Kotaro Fukuma compose un programme raffiné, présente chaque oeuvre avec passion, sincérité et humour et joue le tout avec un instinct poétique supérieur.”
-Le Monde de la Musique, Toulouse, September, 07

“Impression soleil levant... ”
-Classic Toulouse, Toulouse, September, 07

“Magico Fukuma”
-Corriere della Maremma, Monte Argentario, August, 07

-月刊ショパン、Tokyo, May, 07

“Standing Ovation for brilliant young pianist with extrovert flair”
-Port Elizabeth Herald, Port Elizabeth, September, 06

“In detail and overall architecture, this was an exceedingly fine performance, one which led directly to a desire to hear more from this winsome young pianist.”
-Northeast Wisconsin Music Review, Green Lake WI, July, 06

“An extraordinary Pianist”
-Sanibel Review, Sanibel FL, February, 06

“Just as strong an offering was the young Fukuma’s rendition of the Beethoven third concerto”
-Port Lincoln Journal Star, Lincoln NE, March, 06

“Perhaps the orchestra musicians were a bit inspired by the brilliant playing of the piano soloist Kotaro Fukuma. He seemed totally at ease in Bartok’s Concerto No.2. Fukuma played with great conviction the never slackened.”
-The Post-Star, Glens Falls NY, March, 05

“Japanese pianist impresses audience- His technique was impeccable, and he showed himself to be a gifted lyricist as well.”
-Canton Repository, Canton OH, December, 04

“Young pianist triumphs over program’s challenges. There are times when I really, I mean really, love this job. We’re all going to hear a lot more about him in coming years, or at least we all should.”
-Courier Journal, Louisville KY, November, 04

“Such a fine performance comes only a few times in anyone’s life, even if the person devotes his life to attending concerts.”
-The Post Journal, Jamestown NY, November, 04

“Kotaro Fukuma has already established himself as a concert pianist with a burgeoning international career.”
-The Plain Dealer, Cleveland OH, February, 04

“Kotaro Fukuma has the solid technique one expects of a competition winner. More crucially, he has found a way to avoid the pressure toward interpretive cautiousness that has made the competition circuit so deadly. His performance of the Brahms Sonata No.3 in F minor went farther in the regard of tone palette. In the outer movements and in the Scherzo he played with a weight, articulation and coloristic flexibility that touched on an often overlooked aspect of Brahmsian sensibility, a sense of grandeur couched in terms of sober modesty. And he painted the two Andante movements with a gently seductive tone, complete clarity of texture, and the kind of dynamic gradation that creates the illusion that a work is a breathing organism.”
-The New York Times, New York City, November, 03