Download BRIEF CURRICULUM Giuseppe Andaloro is considered one of the

Biography
BRIEF CURRICULUM
Giuseppe Andaloro is considered one of the most appreciated artists of his generation. He
starts a passionate and intense concert activity at a very young age, carrying out a wide
repertoire which ranges from the Italian Renaissance to modern and contemporary music.
He has participated as a guest soloist in outstanding international music festivals, including
Festival Arturo Benedetti Michelangeli di Brescia e Bergamo, Festival Due Mondi di Spoleto,
Ravello Festival, Salzburger Festspiele, Ruhr Klavier Festival, Bucarest Enescu, Hong Kong
Chopin Festival, Beirut Al Bustan Festival, Duszniki-Zdròj Chopin Festival, Sendai Festival,
Morelia Festival, and also in the most prestigious Halls in the world, including La Scala in Milan,
Teatro San Carlo in Naples, Mozarteum in Salzburg, Salle Gaveau in Paris, Gasteig in Monaco,
Royal Festival Hall in London, Sumida Triphony Hall in Tokyo, Esplanade Auditorium in
Singapore.
He has also performed as soloist with the Orchestra Filarmonica di Santa Cecilia di Roma, the
Orchestra Giuseppe Verdi di Milano, the Orchestra del Teatro San Carlo di Napoli, the London
Philharmonic Orchestra, the NHK Simphony Tokyo, the Singapore Symphony Orchestra, the
Hong Kong Philharmonic Orchestra, the Philharmonische Camerata Berlin, the London Mozart
Players, collaborating with conductors such Vladimir Ashkenazy, Gianandrea Noseda, Andrew
Parrott, and the artists Sarah Chang, Giovanni Sollima, Sergey Krylow, John Malkovich.
He has been awarded as winner of the First Prize in some of the most prestigious international
competitions for piano such as the "Ferruccio Busoni" in Bolzano, London (World Piano
Competition), Hong Kong, Porto, Sendai. In 2005 he was given the Award of Artistic Merit by
the Italian Ministry of Culture.
He holds master classes at the Italian Music Conservatories of Palermo and Foggia, abroad at
Tokyo Showa University, International Keyboard Academy of Thailand, Kuala Lampur Chopin
Society, Fresno Music University, and has been member of jury in prominent international
competitions.
Furthermore, Giuseppe has been a guest as a soloist in varius Radio-TV broadcasts, such as
NHB-BS2 Tokyo, BBC Radio3 London, Radio France Musique, Amadeus 103.7 Buenos Aires,
Classic FM Radio Allegro Joannesburg, RTSI Lugano, Radiodifusao Portoguesa, Rai Radio3
Italia, German Radio SWR2, Vatican Radio, WRR Dallas Classical Radio, Hong Kong Radio 4,
Singapore Symphony 92.4FM, Fresno Valley Public Radio.
He has made numerous recordings: his latest album entitled Cruel Beauty published by Sony in
2013, is considered a "World Premiere" of Italian music of the late Renaissance and early
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Baroque. For the first time music has been recorded with a modern piano.
Among the next commitments Giuseppe has a tour in Asia with stops in Japan, Korea, Hong
Kong and Thailand.
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BIOGRAPHY
Giuseppe Andaloro, considered one of the leading international concert pianists of his
generation, was born in Palermo in 1982. He is a first prize winner of the Hong Kong
International Piano Competition 2011 (Chairman of the Jury: Maestro Vladimir Ashkenazy), the
Bolzano Ferruccio Busoni Competition in 2005, the London World Piano Competition in 2002,
and several other competitions in Japan, Portugal and Italy. In 2005 he was given the Award of
Artistic Merit by the Italian Ministry of Culture.
He performs all over the world. His repertoire ranges from Frescobaldi to Ligeti and his
contemporaries and includes, also, his Transcription for Two Pianos and Two Cellos Le Sacre
du Printemps Igor Stravinsky, which has received critical acclaim and sold out from the evening
of premiere, held February 21, 2011 at the Politeama Theatre of Palermo. Giuseppe Andaloro
he has performed at renowned festivals, including those of Salzburg FestSpiel, the
Ruhr-Klavier, the Due Mondi of Spoleto, the George Enescu of Bucarest, the
Mecklenburg-Vorpommern, the Young Prague, the Pleven, the Ravello, the Beirut Al Bustan
Festival, the Rittergut Bennigsen of Hannover, the Lindau Bodensee, the Duszniki-Zdrój
Chopin, the Festival of Brescia and Bergamo, the Bregenzer Festspiel, the Jiménez of Morelia,
the Liepaja Piano Stars, the Sendai Classical, the Beijing Music Festival, the Tuscan Sun
Festival as well as at some of the bestknown institutions, concert halls and auditoria, including
the La Scala Theater of Milan, the Großes Saal and Wiener Saal of the Salzburg Mozarteum,
London’s Royal Festival Hall, the Mansion House, and Queen Elizabeth Hall, the Oxford
Sheldonian Theatre, Berlin's KonzertHaus, Paris Salle Gaveau, Palais des Arts and Salle
Cortot, Tokyo’s Sumida Triphony Hall, Pablo Casals Hall and Metropolitan Art Museum,
Singapore Esplanade Concert Hall, Rome’s Parco della Musica, the Palazzo of the Quirinale
and Santa Cecilia Auditorium, Sacile Fazioli Concert Hall, Buenos Aires Fernández Blanco
Museum, New York Klavierhaus, Mexico City’s Anfiteatro Simón Bolívar, the Munich Gasteig,
Schloss Elmau In Elmau, Athens Byzantine Museum, Toronto’s Walter Hall, Hong Kong City
Hall, Beijing Bravoce Classical Music, Montevideo’s Auditório Sodre, the Dortmund Harenberg
City-Center, Prague Dvorák Hall, Santiago de Chile Oriente Theatre, the Sapporo Kjtara Hall,
Palermo Teatro Massimo and Teatro Politeama Garibaldi, Tucumán San Martín Theatre, Osaka
Phoenix Hall, Porto Auditório do Rivoli, Rabat Mohamed Théâtre, Kraków Philharmonic Hall,
Sendai Grand Hall, Fort Worth Bass Performance Hall, Tel Aviv Recanati Auditorium, Novi Sad
Synagogue, and Pretoria Old Mutual Hall. He has toured with internationally acclaimed
orchestras, includig Philharmonische Camerata Berlin, Singapore Symphony Orchestra, London Chamber Group, Czech Philharmonic Orchestra, Symphonic Orchestra National of
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Porto, Orchestra Sinfonica del Teatro Massimo di Palermo, Orchestra del Teatro Lirico di
Cagliari, and Orchestra Sinfonica del Teatro San Carlo di Napoli. He has collaborated with the
famous conductors, including Vladimir Ashkenazy, Gianandrea Noseda, Tomasz Bugaj, Julian
Kovatchev, Alan Buribayev, Michael Güttler, Andrew Parrot, Donato Renzetti, Umeda Toshiaki,
Ola Rudner, Alexander Shelley, Arturo Molina, Alberto Martini, Daniele Moles, Peter Altrichter,
Gyorgy G. Ráth, Günter Neuhold, Daniele Giorgi, Giuseppe Lanzetta, Ovidiu Balan, Lu Jia,
Gustavo Guersman, Maffeo Scarpis, Lothar Koenigs, Pier Carlo Orizio, Johannes Wildner; and
in duos and ensembles with various distinguished artists, including Sarah Chang and Sergej
Krylov. He has an ongoing collaboration with the Italian cellist-composer Giovanni Sollima. His
performances have been broadcast in several countries and he has a number of recordings to
his credit. Giuseppe Andaloro has served on juries for international piano competitions, and
given international master-classes.
OF HIS PERFORMANCES:
“... Andaloro’s magic touch…” - The Times, London “A player of chiseled brilliance ...” - The Independent, London “Andaloro’s Rachmaninov sent shivers down the spine ...” - The Daily Telegraph, London
"... Andaloro closed with the fourth movement of Prokofiev’s Sixth Sonata. Here he did not
choose to shock and awe with its fusillades of loud dissonance but rather to dwell on its more
witty and sarcastic undertones. He flew with the music, and its many percussive bits were not
hammered with brute force but rather chiselled with the skill of a Michelangelo. Andaloro
showed that Prokofiev’s music was not all about violence, but rich with nuances"
"...possesses fingers of steel cushioned by a velvety soft touch. His rendition of
Rachmaninov’s Second Piano Concerto was to remember. The opening chords were taken
expansively, setting the tone for bittersweet melancholy contrasted with high drama. His
projection from the keyboard was uniformly excellent, roaring above dense orchestral for
ecstatic climaxes yet possessing the lightness of a gentle sigh in quiet solo passages.
Prodigious finger technique told not the whole story – the ability to express emotions without
words made the performance complete. ... The finale afforded display for some of the most
lyrical pianism thought possible and the requisite barnstorming, with the audience eating from
his hands. The rare encore of Schumann’s Widmung in Sergio Fiorentino’s transcription was
further proof that Andaloro was no off-the-assembly-line virtuoso" - (Chang Tou Liang), The Straits Times - Singapore
ESPECIALLY BRILLIANT
An evening of piano music from Giuseppe Andaloro,
heard by GIUSEPPE PENNISI
I seldom report about chamber music concerts in Italy because, rightly or wrongly, I feel
that an international audience may not be interested unless I deal with events which are
part of a larger tour or feature internationally-known artists. This the case with Giuseppe
Andaloro (now thirty years old) who has been performing in Italy and abroad for the last
sixteen years and already has a few recordings in his bag. He has won several
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Biography
international piano competitions (Hong Kong, London, Naples) and has been building an
impressive résumé over the past few years, performing also in Asia and the UK. On 7
February 2013, in Rome's Teatro Argentina, as part of the yearly season of the
Accademia Filarmonica Romana, he gave a quite unusual and sophisticated evening
recital of piano music. The Accademia is one of the oldest private institutions in the
Italian capital; it was established in 1821 by a group of young aristocratic music lovers
and has been operating since then with programs that marry innovation and
experimentalism with tradition.
Andaloro's program suited this objective fully as it included short pieces by six very
different composers ranging from the sixteenth century to the present day. As a matter
of fact, the program also presented the world premiere of a piano work commissioned by
the Accademia itself from one of the most promising Italian composers, Marcello Filotei,
whose compositions are often heard not only in Italy but also in Austria and Germany.
We heard Girolamo Frescobaldi, Olivier Messiaen, Marcello Filotei, Béla Bartók, György
Ligeti and Franz Liszt, in this order. Of course, Andaloro only played a small piece or a
few small pieces from each composer. What was the red line giving sense to the
program? Why, for example, Frescobaldi? At the time (1583-1643), the piano had yet to
be invented and most of the composer's music was for the voice. The link was that all
the pieces had been composed in the early stages of the professional lives of each
composer. The only exception was Filotei's Resistere? Il Suono che Rimane, because the
composer is about forty-five.
Frescobaldi's Sei Partite sopra la Follia is clearly a delicate piano transcription of a
baroque vocal score. Messiaen's Preludes pour Piano are quintessential French
twentieth century. With Bartók's Suite 0p 14 and Ligeti's Capriccio Nos 1 and 2 we are
still in the twentieth century but in a different musical universe. With Liszt's Années de
Pélerinage we're in full Romanticism. And Filotei's Resistere. Il suono che rimane? has
the sense of a revolution for a cause.
Andaloro's hands covered the entire keyboard, up and down at full speed and volume,
but he never lost track of his sense of musicianship. He created expressive music at the
extremes of the instrument, and he was especially brilliant playing the music of Bartók.
Copyright © 17 February 2013 Giuseppe Pennisi,
Rome, Italy
GIROLAMO FRESCOBALDI
OLIVIER MESSIAEN
BELA BARTOK
GYOERGY LIGETI
FRANZ LISZT
You Tube: ASHKENAZY - SINGAPORE SYMPHONY - GIUSEPPE ANDALORO (RACHMANINOV PIANO CONCERTO N.2)
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