Alon Goldstein es uno de los artistas más originales y sensibles de su generación, admirado por su inteligencia musical y su dinámica personalidad. La visión artística de Alon y sus programas innovadores hacen de él uno de los favoritos entre el público y la crítica en Estados Unidos, Europa e Israel. Hizo su debut orquestal a la edad de 18 años con la Filarmónica de Israel bajo la batuta de Zubin Mehta, y en abril de 2008 regresó con el maestro Herbert Blomstedt con el Concierto N º 1 de Beethoven . En las últimas temporadas Alon ha actuado con la Filarmónica de Los Ángeles, Orquesta de Filadelfia, San Francisco, Baltimore, St. Louis, Houston, Vancouver, Kansas City y North Carolina Symphonies, la Filarmónica de Rhode Island, y giras con orquesta en París, Rusia, Rumania y Bulgaria.
Durante la temporada 2012-13, realiza una exitosa gira por América Central y del Sur, con la Orquesta de Cámara de Israel. Alon Goldstein hace su debut con la Orquesta Sinfónica de Toronto, y es el pianista elegido de nuevo por el Cuarteto de Tokio para su última temporada de conciertos en USA. Invitado al Klavier Festival Ruhr-, bajo la batuta del maestro Leon Fleisher. Además de actuaciones con conciertos de Liszt, Rachmaninoff, Shostakovich, Mendelssohn, Tchaikovsky, la apretada agenda del Sr. Goldstein incluye actuaciones con recitales en solitario, muchos de los cuales incluyen la música de Debussy, en homenaje del 150 aniversario del nacimiento del compositor. En Julio de 2013 se presenta con la Chicago Symphony bajo la dirección de James Conlon.
Mr. Goldstein es un activo músico de cámara y forma parte de agrupaciones importantes como el Tempest Trío (junto a Ilya Kaler y Amit Peled) con el graban recientemente tríos de Dvorak para el sello Naxos.
Las dos últimas temporadas del Sr. Goldstein incluyen su exitoso debut con la Orquesta Filarmónica de Londres y Vladimir Jurowski interpretando el ConcertoNº1 de Mendelssohn , vuelve a tocar con la IRIS Orchestra el Concerto No. 2 de Saint Saëns dirigido por Michael Stern. El concierto Nº1 de Tchaikowsky con Jaime Laredo y la Vermont Symphony.. También actuó en París con la Orquesta Filarmónica de Radio Francia, con Leon Fleisher como director. Avner Dorman’s Lost Souls con Santa Barbara Symphony bajo la dirección de Nir Kabaretti.
Alon ha aparecido en el Gilmore, Santa Fe, Tanglewood, Ravinia, Marlboro, Seattle, y los festivales de Steamboat en los Estados Unidos, así como Prusia Cove,el Festival Verbier y el Festival de Piano del Ruhr.
Actuó en el Hollywood Bowl con la Filarmónica de Los Ángeles y el Parque del Milenio en Chicago con Grant Park Symphony Orchestra En los últimos años también ha enseñado y ha jugado en las clases “Tel Hai” internacionales Piano Master celebrados en Israel.
Alon Goldstein ha sido ganador de numerosos Concursos y Premios internacionales.
“…an irresistible powerhouse performance.”
“Alon Goldstein, who made a superb Philadelphia Orchestra debut last summer, showed even more depth and style in Saturday’s performance (Bartók Concerto No.3)…. You wanted encores—preferably, his entire repertoire”. “This young artist has style, smarts and technique…he created a stillness around himself that was so long and imposing in its defiance of expectations that your ear had to be glued to everything that came after.” (Beethoven No.1)”
“Goldstein performed Mendelssohn’s Piano Concerto No. 1, a dreamy, imaginative, romantic work last performed by the Bangor Symphony eight years ago. Goldstein is as fierce a player as he is delicate, as the lively first movement gave way to a lyrical andante second movement, imbued with much quiet passion. But it was somewhere in between the andante and the fiery third movement that Goldstein made new fans out of most of the audience; his virtuosity in full effect, coupled with his ability to communicate emotion to listeners, brought concertgoers to their feet at its conclusion.”
“Next, a work with one goal: to entertain and delight. This welcome antidote was provided by Dmitri Shostakovich in the form of his second piano concerto, written in 1957. Soloist Alon Goldstein executed his role with perfection. The work was written for the composer’s son, Maxim, who was then a 19-year-old student at the Moscow Conservatory. The outer movements are driven by unabashed comedy, blending tongue-in-cheek keyboard doodling with delightful musical explosions designed to harm not even a flower. Goldstein, Stern and the philharmonic revelled in their opportunity to just have fun.It was in the slow movement that the most precious music of the night was produced. Inspired by Chopin and Rachmaninoff, Shostakovich produced what for him is an atypical moment of pure romanticism, which the performers perfectly rendered. The beauty and sense of devotion produced seduced the entire hall.”
“Next up was guest pianist Alon Goldstein, who provided practically a Genome Project for piano, fully mapping the instrument’s DNA in a ripping performance of Russian composer Sergei Rachmaninoff’s wickedly demanding Rhapsody on a Theme of Paganini. Goldstein’s flawless technique and sultry touch drew a well-deserved standing ovation.”
“With a solo cadence of astonishing clarity in both hands, tasteful phrasing, sense of touch and special power on the keyboard. In the Adagio, Goldstein made the piano sing as rarely heard in other versions, without haste, tasting each note. The applause made him sit twice in front of the instrument the thing that will particularly remain in the memory of this writer are the sounds that Goldstein obtained from the piano in the “Adagio” of Beethoven and the “Impromptu” by Schubert, an exceptional legato to serve a personal interpretation and transparency. At that point, it was more than clear that Goldstein is a different pianist, of exquisite sensitivity.”
“De seguido, con el respaldo pronto y alerta de Talmi y el conjunto, Alon Goldstein forjó una interpretación brillante del Concierto N°1, en sol menor, para piano y orquesta, opus 25, del alemán Felix Mendelssohn (1809-1847), que data de 1830. Digitación nítida, sonido amplio, tonos matizados, ráfagas fogosas en raudo recorrido por el teclado caracterizaron el desempeño del solista en los dos movimientos exteriores; serenidad, lirismo y timbres tenues, destacaron en el andante interno. Tras los aplausos entusiastas e insistentes, Goldstein complació a la audiencia con la Danza del gaucho matrero, del argentino Alberto Ginastera.”
“Alon Goldstein was the brilliant soloist in Sergei Rachmaninoff’s ‘Rhapsody on a Theme of Paganini.’ The piano part is a compendium of virtuoso piano styles, and Goldstein gracefully demonstrated his mastery of all of them, from heaven-storming Liszt, to songlike Chopin. Goldstein was particularly adept in finishing light-hearted phrases with the comic equivalent of ‘throw-away lines’. The heart of this work is the moment when Rachmaninoff, in the midst of technical brilliance,speaks from the heart in the famous 18th Variation. Here, Goldstein’s playing was very moving and Larsen led the strings of the symphony in a crescendo to the emotional climax of the work. Goldstein and Larsen received hefty applause at the end of the ‘Rhapsody’ with many in the audience standing. Larson’s CUSO finale full of triumph – and sadness.”
“Pianist Alon Goldstein, who has partnered with the Philharmonic a couple of times in recent seasons, tackled the solo parts in the Grieg and did a masterful job. He emphasized the score’s lyrical qualities, playing down any showiness, although the first-movement cadenza was pretty dramatic. But the dreamy, slow movement spoke more to Goldstein’s artistry, with its lilting phrases and warm tone. He’s got a flawless technique, but it’s his musical savvy that stands out.”
“Goldstein is a pianist of powerful yet delicately controlled technique, as well as considerable musical intellect.”
“After opening with the Coriolan Overture, the orchestra was joined by the pianist Alon Goldstein for the Beethoven concerto. Goldstein’s Beethoven was actually quite a genuine surprise, not only having none of the overly brash egotism that one might expect, but going even further into introspection. His smoothly tooled articulation was gently textured by the subtle rhythmical license that pushed and pulled and tugged, urging the listener closer in order to catch each turn of phrase. So personal was his interpretation that, at the Thursday evening performance, a rubato moment in the first movement barely escaped being an odd syncopation. Nonetheless, this was a product of the pianist’s heart and soul. The largo second movement was indeed that, almost mesmerizing in its carefully crafted restraint, yet with an optimistic luminous tone. The orchestral accompaniment was equally well-balanced here, with Beethoven’s gentle woodwind passages alternating with one another against the piano’s rippling stream. One had to admire the communication between Richman and Goldstein here that yielded ebb-and-flow moments of true captivating beauty.”
“The young pianist Alon Goldstein crept to the piano through the orchestra under cover of total darkness and against the backdrop of an eerie drone from the strings. Once there, he kept the audience riveted with a cascade of varying styles and techniques, all harnessed to the piece’s emotional center. At the end, the lights went down again as the pianist lingered, playing an insistent phrase at the very right-most end of the keyboard until he finally exited to a hiding place at the base of the conductor’s podium. The hide-and-seek was all in good fun and part of the work’s thematic development, which had to do with séances and spirits from beyond.”
“Pianist Alon Goldstein, returning to the RSO after performing with them in January 2009, gave a beautiful, finely calibrated interpretation of the concerto, as did Constantine. After the emphatic opening chords, the piano echoes the oboe’s statement of the melody; Goldstein played so delicately that the ghostly sound seemed to come from far away. Throughout the first two movements, he played gently, intimately, with a caressing touch and plenty of rubato. Then, like a panther unleashed, he pounced on the third movement, taken at a wonderful, cantering tempo – all flashing fingers and fire. It was the consummate Romantic performance.”
“Goldstein’s 2009 concert at the Tannery was marvelous; he is a meticulous technician who plays with passion and conviction. Saturday’s performance of the music—and words—of Brahms and the Schumanns promises to be a fitting finale for the twentieth season.”
“In the second movement the pianist performs a playful concerto movement and a dispirited orchestra quits trying to accompany. In the finale—“Exorcism”—however, the orchestra gathers itself for a lively and cheerful chase to rid itself of the concerto demon. The lights once again go out, the demon’s soul expires in a high, pitiful and scrambling squeak, there is an explosion from the percussion and, lo and behold, when the lights come back on the pianist has disappeared. Dorman thinks big—lots of notes, crashing sonorities, jazzy rhythms—and Goldstein has the chops to pull it off.”
“Goldstein did a remarkable job of navigating his way through 300 years of pianistic stylings – delicately sensitive in the more tonal, melodic themes, and energetically tempestuous in sections that were more dissonant and chordal, where his ginormous Rachmaninoff hands worked to his advantage in several passages. The final product was a perfect melding of orchestra – with a phenomenal interpretation by Maestro Stern – composition and performance: it was at once Stern’s work, and Goldstein’s work, and, ultimately, Dorman’s work. This piece left no question in my mind that Avner Dorman is, by any measure, a world-class composer destined for much more greatness.”
“Goldstein played convincingly, with a dual musical personality: vibrant lyricism at times followed by highly technical musical athleticism.”
“But Mr. Goldstein made contributions too, playing the accompanying figures in each with a supple, velvety tone, and letting the principal chorale lines sing gently over them. Mr. Goldstein gave a playful, crisply articulated and texturally transparent account of the Brahms Scherzo he produced a lovely, flowing sound, not unlike that of his Bach performances. Mr. Goldstein reveled in its sharp-edged rhythms, dense chords and arching themes, and gave it an irresistible, powerhouse performance.”
Galería de vídeos
Alon Goldstein performs Jesu, Joy of Man's Desiring
Alon Goldstein - Mozart's Piano Concerto No. 23 (Adagio)
Alon Goldstein - Mozart Piano Concerto No. 23, Allegro assai
Alon Goldstein - Bartók Piano Concerto No. 3, 1. Allegretto
Alon Goldstein - Bartók Piano Concerto No. 3, 2. Adagio Religioso
Alon Goldstein - Bartók Piano Concerto No. 3, 3. Allegro vivace
Chopin, Piano Concerto No 2 in f Minor, Op 21, Third Movement
The Israel Chamber Orchestra with Pianist Alon Goldstein and Maestro Yoav Talmi