Ugorskaja’s playing of Schubert is distraughtingly existential, it is among the most veracious transmittals we have recently received from musicians. To reach Schubert’s sound so closely from in-depth thinking and feeling, to advance to it with such a consciousness – only few pianists may succeed in what Dina Ugorskaja achieved here.
An expressive legacy
Ugorskaja plays as if she intends to throw away all conventions of interpretation, everything on the outside, in order to get to the naked soul of this music. She was a pianist with an exceptional technique and strength, which she modestly put into service of her own, very personal expression.
The Last Great Musical Achievement of a Wonderful Performer
Ugorskaja’s interpretations always remain concise, unique in their expression, sometimes mercilessly intense, clear and yet intangible. For the listener they provide an intense experience outside space and time.
"Resplendid, Sacred Song!"
(Eleonore Büning about Beethoven Op. 106 & 111)
Dina Ugorskaja’s father is also a famous pianist. But now she has stepped out of his shadow. In the short opening phrase alone, she presents a palette of colours and nuances of expression, that is, technically speaking, breathless, with not a hint of affectation or capriciousness. She combines astonishing power with tender warmth, confidently shaping every detail,... while at the same time always telling the whole story ...
Amazing also is the rhythmic precision and the momentum, the design of the repeated pause and the endurance of the contradictions in the Scherzo. The tremendous Adagio sostenuto, played according to the instruction "passionate and with much feeling" – from now on, one would like to hear it precisely this way: as a resplendent, sacred song! read more „"Resplendid, Sacred Song!"
(Eleonore Büning about Beethoven Op. 106 & 111)„
Southwest Radio, Germany
(Beethoven Op. 90, 101, 109, 110)
Not only does Dina Ugorskaja understand how to colourfully shade detail, how to shape and hold an arc of tension, she also lets emerge that great architecture of sound that makes these complex works audible in the first place. She truly plays in the major league.
Literatur Spiegel, October 2016
…her interpretation sounds so wonderfully fresh. Informed in all historical details, but never showing off what she understands, balancing the main and secondary voices, the dancing, choral-like, and bravura improvised passages, the cycle emerges as a perfect whole. If one listens closely the entire time, one cannot imagine classical Bach done better.
…in Ugorskaja`s rendering of Bach, intellect and intuition appear as equals.
Crescendo, Oktober 12, 2016
You feel yourself not directly addressed, but rather quietly listening in on an intimate dialogue between Bach, God, and the universe. Dina Ugorskaja keeps a noble distance, which protects the fragility of her discourse. An impressive appeal to the freedom of the spirit.
Review of Bach’s WTC I and II
Gulda, Gould, Richter, Tureck, Schiff, Hewitt, Fischer – the list of recordings of the Well-Tempered Clavier is long. But now another artist came along who without a doubt belongs among the best … one of the best counterpoint performers of our time … Dina Ugorskaja´s secret lies, on the one hand, in her spiritual affinity for Bach‘s music already as a child... sich aufgesogen hat, aber andererseits, wie sie selbst sagt, eben durch die Beschäftigung mit dem WTK geerdet wurde. Den Rest machen Technik, Bildung- und ein Klangvermögen, das einen immer wieder aufs Neue staunen läßt. read more „Review of Bach’s WTC I and II„