Irene Veneziano JEUX D'EAU

Irene Veneziano plays regularly all over the world.

In Beijing she was appointed an honorary member of Beijing Bravoce Music Club and in Peru she received the honorific title “Visitante distinguida”.
In 2107 le she was awarded the National Prize for culture “Toyp 2017”and she was also chosen for the exhibition “Donne. Mujeres italianas que han cambiado la historia” in Logroño (Rioja, Spain).
In January 2011 she had her debut at the Alla Scala Theatre in Milan, having great success from public and critics.

She was semifinalist in the prestigious 16th “International Piano Competition F. Chopin” in Warsaw 2010 and finalist at the “International German Piano Award” in Frankfurt 2015. She was awarded in more than 30 national and international piano competitions, including Prix Jean Clostre in Genève, 2nd Prize in B&B in New York, Premio “Casella” in Premio Venezia competition, First Prize and Grand Prix at Tim Competition in Paris 2012.

She graduated from the Istituto Musicale Pareggiato G. Puccini in Gallarate in 2005 with top marks and special mention.
In 2008 she passed the Level II Academic Diploma for piano at the G. Verdi Conservatory in Milan with top marks and special mention. In the same year, she obtained the specialist piano Diploma held by M° S. Perticaroli at the S. Cecilia Academy in Rome with top marks; she was also awarded the “G. Sinopoli” Scholarship for the best degree student from the Academy, receiving the award from G. Napolitano, the President of the Italian Republic. She also obtained the Diploma of Chamber music with special mention at the International Piano Academy in Imola. In 2009 she passed the diploma of “Didattica della musica” at the G. Verdi Conservatory in Milan.

Stephanie McCallum ALKAN Twelve Studies in all the Major Keys Opus 35

“Rarely do I find a record so irresistible that I listen to it over and over, well beyond what's required for a review. This is such a record… Part of the attraction is simply the joy of discovery. …These etudes represent Alkan at his best and most accessible. For the newly-initiated this would be a good place to begin… Stephanie McCallum is a thoroughly convincing champion of this music. Not only are her fingers up to the quite formidable technical task, but she has the right kind of temperament. Her playing has real character and elan.” (American Record Guide, May/June 1995)

“As fas as I know, the Australian Stephanie McCallum is the first woman pianist to record Alkan. There is, frankly, little to choose between her and Bernard Ringeissen who, at the moment, offers the sole alternative in Op. 35…. McCallum has a formidable pianistic armoury and… it's a most impressive recital. In particular, I urge you to hear her beautiful account of Etude no 19 "Chant d'amour".” (Classic CD, September 1995)

“This release is extremely welcome, the more so as Stephanie McCallum, a pupil of Ronald Smith well versed in Alkan's alchemy,. proves to be a formidable and insightful pianist, who gives us a very good idea of what the music is all about, ie transcendental technique at the service of ecstatic yet utterly disciplined vision. …Music like this, as well served as this, should be self-recommending.” (Hi-Fi News, April 1995) 

Jack Gibbons ALKAN 12 Études Op. 39

Yes, pianophiles who are aware of Alkan have to know that there is not only one great recording of Alkan’s Symphony or Concerto for solo piano.  Like many other people, I was first introduced to Alkan by the technically unflappable recordings of Marc-André Hamelin, and I was pretty much convinced that they were THE definite recordings.  That was until Jack Gibbons’ recording of the complete Op. 39 came along.  And it totally blew me away.

After a quick hearing of Gibbons’ Symphony and the Concerto, it’s hard not to realize that his technique yields nothing to Hamelin’s, yet while Hamelin presents us with a cool, Apollonian view of these two masterworks, Jack Gibbons goes all out with his technique, and in dazzling display reveals all their thrilling Dionysian qualities.  Consider the first movement of the Symphony:  Hamelin’s more symphonic approach paints the picture in darker, warmer tones, frequently putting emphasis to the brooding C minor tonality, while Gibbons’ more red-blooded, relentless way reveals to the listener Alkan’s mastery in form and structure, the “long line”, and proves to be entirely convincing (even though personally I prefer Hamelin’s more contrasted way).  As for the finger-busting Finale, I’d certainly take Gibbons’ wild and thrilling hell-ride over Hamelin’s unfazed cruise in a Veyron any day. (Jeremy Lee)