The LA Times on Gabriela Martinez' Broad Stage return, a recital highlighting Venezuelan, Brazilian, and new American music.
— Mark Swed,
Martinez has a knowing, often thunderous technique, and she made the most familiar passages (the opening piano chords, for example) completely hers, and played into this space with a touch and projection that made it sound as if the Shell is her home hall. Read More...
— Luke Schulze,
San Diego Union Tribune
Fortunately guest pianist Gabriela Martinez had a master plan for her account of the Grieg concerto that included bold accelerandos in the bravura solo sections and gracefully nuanced rubatos in the peaceful interludes. Read More...
— Ken Herman,
San Diego Story
Martinez’s graceful yet firm playing evokes not just high classical skills but centuries of popular music involving the piano. For the freer moments, her fingers move like a jazz player. In her style, you can hear how Grieg influenced French composers like Debussy, who in turn influenced George Gershwin. Read More...
— Christopher Arnott,
Chopin launches into his PIANO CONCERTO NO. 1 with surprisingly lush and virile orchestral writing in the Allegro maestoso: brass, flutes and French horns striding into the mix as the long intro climaxes. Although Warren-Green and Symphony were aggressive in their attitude, Martinez took a more leisurely approach, downplaying the inner dialectic between longhair rigor and liquid lyricism in the early piano soloing, settling instead into a groove that underscored the Concerto's affinity with Chopin's Nocturnes. Read More...
— Perry Tannenbaum,
Steinway Society program ranges from Beethoven, Rubinstein, Granados, and Ginastera to Dan Visconti and Adam Schoenberg Read More...
— Dr. Gary Lemco,
The interlude of the evening was a dazzling performance of Manuel de Falla’s “Nights in the Garden of Spain” by Venezuelan-born pianist Gabriella Martinez and the Rogue Valley Symphony ... It was impressive to watch Martinez, her hands swift and sure on the keys and her presence, so elegant on stage. Martinez’ performance brought the audience into the complex, cultural range of southern Spain, the piano not the dominant instrument, but offering a responsive resonance. She heard the orchestra not only with her ears, but also sensed it with her body, leaning into the music with total absorption. Read More...
— Maureen Flanagan Battistella,
Mail Tribune (Rogue Valley, OR)
Daniel Hege led the first-rate Akron Symphony in a riveting performance of Prokofiev’s visceral Piano Concerto No. 2 in g, with the brilliant Gabriela Martinez as soloist. The young Venezuelan pianist was effortless in her handling of the 30-minute concerto’s technically challenging writing. But it was her instinctive music-making that made for a thrilling listening experience. Read More...
— Mike Telin,
The highlight of the evening was [Martinez's] riveting performance of Mozart's Piano Concerto No 20 ... The cadenzas in the first and third movements—composed by Beethoven and arranged by a friend of Martinez—were brilliant, and Martinez performed the famous theme of the second movement, poignant and arresting, with great sensitivity. Read More...
— Tom Nanney,
I didn’t know Ms. Martinez’s name before reviewing this, but she is well worth knowing...[Beethoven’s Sonata 7] is playful, light without becoming anemic; she includes excellent control over textures as well as subtle and effective articulation...The same great control appears in Rachmaninoff’s Moment Musical 1 in B-flat minor...Dan Visconti’s Amplified Soul...is beautifully conceived for the piano and exquisitely performed. Read More...
— Rob Haskins,
American Record Guide
Taken as a whole, this is an album in which each of the compositions has its own distinctive rhetorical stance. Martinez is clearly comfortable with finding and delivering that stance in each of her interpretations.…the use of the adjective ‘brilliant’…is justified. Read More...
— Stephen Smoliar,
The Rehearsal Studio
“[Gershwin’s piano concerto]…brilliantly played by the Venezuelan Gabriela Martinez. Eschewing flash and glitz, she sat upright at the piano, playing with confidence and poise rather than excessive drama. … ...she performed flawlessly. Her accented syncopations were superb, and she gave the [third] movement a dramatic arch that was sustained until the last measure.” Read More...
— Steve Osborn,
“Venezuelan Gabriela Martinez was the exquisite soloist in the Chopin. She drew an expressive tone from Perelman’s own Steinway concert grand, uncovered countless inner voices, shaped every phrase with delicate tenderness, projected pyrotechnical brilliance for stunning dramatic effects, and worked beautifully with both her conductor and her colleagues.”
(Chopin, Piano Concerto No. 2 in F minor, Chamber Orchestra of Philadelphia)
— The Chestnut Hill Local
“In October, when we are drawn to probe the mysteries of death and the supernatural, there’s nothing like Rachmaninoff. And there is nothing like the specific Rachmaninoff repertoire the Buffalo Philharmonic Orchestra is exploring this weekend, as Part 2 of its Rachmaninoff Festival. … Read More...
After “The Isle of the Dead” came to its eerie close – muffled timpani, an uneasy closing chord – it was time for another guest artist, pianist Gabriela Martinez. Martinez was the soloist in the Piano Concerto No. 1. Like the Fourth, heard last week, the First Piano Concerto is not heard that often. It should be. It’s a marvelous piece, with strong and memorable melodies, a breathtaking slow movement and a whopper of an ending. Martinez got through it with flying colors.”
— Mary Kunz Goldman,
The Buffalo News
Ms. Martinez's Saint Saens concerto "was especially convincing in the free, fantasy-like opening movement. I especially liked her dynamic control, and the sense of spontaneity and freedom that she conveyed. Her sparkling runs and bounding arpeggios showed full technical command..." Read More...
— Peter Alexander,
SHARPS & FLATIRONS Classical Music in Boulder & Environs
"Martinez plays with a clarity that communicates with great immediacy to an audience." Read More...
— Chuck Holdeman,
Delaware Arts Info
Martinez produced bold sounds [in Joaquin Turina’s Piano Quartet] ... but never descended to banginess. [In Brahms’ Piano Quartet] Martinez’s piano was strong but consistently well-judged, and all four musicians displayed an artistic teamwork that did this dramatic composition full justice. Read More...
— Olin Chism,
Martinez … plays with elegant lyricism. She strikes an impressive pose: model beautiful, tall and thin and dressed in a tight-fitting floor-length gown with her long blond hair drawn back in a ponytail. Her hands glided ballet-like over the keys with enough flourish to keep you interested but not enough to distract. From the deliciously prolonged first movement to the finale, she created graceful poetry of Beethoven's taut writing. Read More...
— Cathalena E. Burch,
Arizona Daily Star
The full house responded enthusiastically to the program; perhaps some conversions to serious music were made. Read More...
— FLOYD GINGRICH,
I was completely smitten by the performances of violinist Elena Urioste and pianist Gabriela Martinez. Read More...
— There Stands the Glass - Kansas City's original music blog
Venezuelan pianist Gabriela Martinez brought refinement, elegance and a penchant for lyrical expression to her Toronto recital début at the Glenn Gould Studio on Friday night. Read More...
— John Terauds,
"Martinez superbly met all the score's virtuosic demands for the soloist..." Read More...
— Janie Caves McCauley,
While the “Ghost” moniker comes from the eerie second movement, I felt a chill all the way through, even in the first movement when the piano octaves of the second theme, for example, crept along like a incorporeal apparition. The ominous quality of the exposition was gently resolved with Mr. Brey’s sweet delivery in the recapitulation. Both Mr. Brey and Ms. Urioste’s playing demonstrate a delicate tone, which was never thick, gestured or aggressive. Read More...
— Seth Lachterman,
The Berkshire Review
Gabriela possesses a marvelous, contagious energy, working with her is very exciting, she transmits all of her energy to the orchestra. She is incredible, she is enormously talented, she is simply a genius.
— GUSTAVO DUDAMEL
She is a fantastic performer!
— James Gaffigan
"... hearing [the Draeseke Clarinet Sonata] performed by artists of the caliber of Gabriela Martinez and Romie de Guise Langlois was very exciting, and I can only hope they have the chance to do the work again." Read More...
— Warren Cohen,
— Robert Rej,
[Schubert's Piano Trio No. 1 in B flat] showed the current crop of musicians to be versatile, original interpreters. ... Gabriela Martinez, the pianist; Joanna Frankel, the violinist; and Caitlin Sullivan, the cellist, immediately set aside the smooth, enveloping approach that groups like the Beaux Arts Trio have made the standard reading and instead played the music with sharply articulated phrasing and an earthy rough-and-tumble feeling. Read More...
— Allan Kozinn,
The New York Times
"Martinez proved to be a thoughtful musician, sometimes even cool. She handled the Grieg [Piano Concerto] with a delicate touch, at times, managing its scherzando impulses with pinpointed nonchalance. She allowed the lyrical flights to breathe, taking her time. When the big moments came, she avoided pounding for its own sake, looking after voicing and shape." Read More...
— TIMOTHY MANGAN,
The Orange Country Register
"A splendid colt of a pianist dared to throw off her bit and run free with this wild stallion of a work [Prokofieff's Piano Concerto No. 2], executing every grand gesture daringly and securely, every arpeggiated passage thrillingly. ... This performance was so exceptionally confident as to send sparks through the mostly student audience at Lincoln Center. A rare moment of heart-pounding electricity at a time in our collective American musical lives when risk-taking is viewed as slightly abnormal elicits from this reviewer only the highest of praise for this emerging artist. ... We, the audience, desperately need more adventurers like her." Read More...
— Frederick L. Kirshnit,