Xenia Groh-Hu
xh(at)karstenwitt.com
+49 30 214 594-224
Lisa Böttcher
lb(at)karstenwitt.com
+49 30 214 594-226
General Management
29.01. 20:00 — cancelled
Bühnenhaus Wesel
01.02. 20:15
Stadthalle Reutlingen
03.02. 20:00 — cancelled
Kronensaal Betriebs GmbH
04.02. 20:00 — cancelled
Das Wormser/Theater, Worms
07.02. 16:00
Schloss Ettlingen
07.02. 18:30
Schloss Ettlingen
16.02. 19:00
Slovenská Filharmónia, Bratislava
18.02. 19:00
Slovenská Filharmónia, Bratislava
19.02. 19:00
Slovenská Filharmónia, Bratislava
14.03. 10:00
Alte Oper Frankfurt
14.03. 12:30
Alte Oper Frankfurt
15.03. 17:00
Alte Oper Frankfurt
15.03. 20:00
Alte Oper Frankfurt
27.03. 19:30
KKThun
"I'm one of those people who always want to discover something new, that's why I like to occupy myself with diverse repertoire," Claire Huangci explained to us two years ago in an interview. At the moment, her the path to “the new” means, among other things, not only mastering great works in pianistic solitude or working with orchestras as a guest soloist, but also seeking new challenges with musical partners. Accordingly, she will be performing as a chamber musician in many places in the coming weeks: With her Trio Machiavelli in Bayreuth, and in piano duos with Alexei Volodin at the Elbphilharmonie and with Mario Häring in Blaibach. And as the first fruit, so to speak, of this orchard that has been growing for quite some time, she will release a chamber music CD in mid-August....
„I get very nervous when I am making records (...) when the stage is set for the final recording and I realise that this will remain for good, my hands get tense.“ No, this isn’t Claire Huangci, who recently recorded Sergei Rachmaninov’s complete piano preludes for Berlin Classics, but rather the Russian composer himself who admitted to nerves. One of the greatest pianists of his time, Rachmaninov made landmark recordings of both his own works and music by other composers, but always had a certain mistrust of sound recordings.Nearly a hundred years later, committing any works to disc still presents its own exciting challenges. This is especially true in the case of the preludes, which are not only technically difficult, but since many of the individual works are relatively unknown, the whole cycle has been rarely recorded in its entirety. Claire Huangci confirms this: “There are a couple of favourites which everybody knows, and everybody plays. These few preludes, which Rachmaninov recorded himself, overshadow the rest of the cycle. I find this a great pity – for me, there isn’t a single prelude that is a little sub-par. Every piece is simply so unique and a small masterpiece in its own right.”...