| CAMERON ROBERTS - Pianist | Tchaikovsky/Roberts - 1812 Overture | |||||||||||
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CONCERT REVIEWS "Standing Ovation for Piano Virtuoso - Local musicians learn from one of the best [subheading]. Australian pianist Cameron Roberts received a standing ovation last Friday at Wangaratta Performing Arts Centre. The audience was also treated to two encores… Arts Council president, Margaret Brickhill, said Roberts' brilliant technique and creativity in performance were evident throughout the two-hour concert." - THE CHRONICLE, Australia, March 31, 2010 "En el día de ayer pude escuchar uno de esos conciertos que no nos dejan indiferentes, ni por el programa, ni por los intérpretes, la violonchelista alemana Beate Altenburg, afincada en nuestro país desde hace un lustro y el pianista Cameron Roberts, casi recién llegado a la vida musical madrileña. En primer lugar, quiero destacar el hecho de que, durante todo el recital, el piano permaneció con la tapa complétamente levantada. Pocas veces, por desgracia en España, nos encontramos con unos verdaderos cameristas y con un pianista que sepa adecuar su sonido para que el del chelista nos llegue en toda su integridad sin tener que "sacrificar" a su instrumento bajando la tapa. Si a eso le sumamos que la versión que hace Beate de la sonata de Rachmaninov es realmente intimista, sobrecogedora en muchos momentos, esto nos da la idea del magnífico músico que es Cameron Roberts." - Notastenidas, 2008 “The [Bach] is not short on colourful touches. Roberts using sustaining pedal discreetly and introducing some metrical flexibility, as well as opening up some usually hidden lines, as in the final Quodlibet. With a highly developed technical facility, the pianist made exciting work of the faster sections, particularly those that require the hands to cross. Roberts has a clear grasp of the work and manipulated its internal pulleys and levers with impressive insight... He ended with his own transcription of the Bach Brandenburg Concerto No. 3, a sterling demonstration of keeping most of the original’s 10 lines on the boil, admirable at many points for the player’s clean management of the chain of thirds... Roberts’ praiseworthy treatment of another [Rachmaninoff] song, Sleep – the most effective example of this young artist’s high level of musicianship" – Clive O’Connell, THE AGE, Melbourne, Australia, 2006 “One of the National Academy’s brighter sparks, pianist Cameron Roberts, gave a splendid hour’s worth of varied repertoire on Saturday night. He opened with an exemplary Bach Partita No. 1, a lucid appreciation of the work’s benign busy-ness coming over. This was followed by Scriabin’s Sonata No. 5, treated with a compelling breadth of expression and subtlety that mitigated the work’s neurasthenic language. Two deftly contrasting Grainger pieces preceded four Rachmaninov preludes of high-calibre playing. Along with the essential technical facility, Roberts invested these with a controlled vehemence that you might have encountered in a musician twice his age. He is no slouch at bravura, either, as shown by his glittering, slick reading of Gershwin’s I got rhythm in a Earl Wild transcription, with his own touches added for good measure.” – Clive O’Connell, THE AGE, Melbourne, Australia, 2000 "Cameron Roberts made an intelligent and suitably grandiose creature of the “Emperor”, No.5 in E flat. This involves a test of any player’s stamina. Roberts displayed a highly impressive grasp of the concerto’s framework and his position inside it. He is a significant talent.”– Clive O’Connell, THE AGE, Melbourne, Australia, 1999
• Vivaldi/Roberts Summer (from The Four Seasons) • Rachmaninoff/Roberts How beautiful it is here, The Morn of Life, Sleep • Gershwin/Roberts Rhapsody in Blue • Bach/Roberts Largo (from Concerto for Two Violins) • Tchaikovsky/Roberts 1812 Overture • Faure/Roberts In Paradisum
"He shapes to the demands of whatever he plays like fine wine to a goblet. His taste is impeccable, his physical command of the piano is remarkable. Refinement of style informs every moment of this recording. How Beautiful it is Here! is given marvellously lyrical treatment, each note clothed in gorgeous cantabile tone.
BACH - Goldberg Variations & Original Transcriptions (2006) Bach • Goldberg Variations
"ROBERTS is in Olympian form in Bach’s Goldberg Variations which comes across as a chaplet of near-faultlessly fashioned pianistic gems. "Roberts' thought-provoking Goldbergs...with the pivotal 25th variation sensitively given." "An intimate recording... the rattling good fun Brandenburg Concerto has most successfully made the transition to its new form.."
( 4MBS Program Guide)
A Grand Tour (2003)
Private sale, studio recording
Live in Recital (2000)
Private sale, live recording. St.John’s, Southgate, Melbourne. Works by Bach, Scriabin, Rachmaninoff, Grainger & Gershwin
OTHER ARTICLES in the media "Medicine's loss is music's gain as pianist's star rises" - The West Australian, June 4, 2010 The other day, I listened to a new CD by a pianist whom I'd not heard before. Only seconds into track one, however, I knew I'd not easily forget the name. Make a note of it: Cameron Roberts. On the evidence of this recording, Roberts has the potential to become an international star. Roberts' account of his own transcription of Summer from Vivaldi's Four Seasons, for instance, draws on a dazzling rainbow of tonal colours. It's playing that rivets the attention even in such hackneyed pieces as Tchaikovsky's 1812 Overture and Gershwin's Rhapsody in Blue. It's virtuosic playing that is frankly thrilling. His 2006 debut CD on the MOVE label, Bach's Goldberg Variations and Original Transcriptions, was praised as thought-provoking and… (continued at: thewest.com.au)
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VIDEOS
Solo: • Tchaikovsky/Roberts - 1812 Overture • Bach/Roberts - Largo (from Concerto for Two Violins) • Bach/Roberts - Aus Liebe will mein Heiland Sterben. • Rachmaninoff/Roberts - How beautiful it is here Chamber: with David Walter - Oboe: |
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