“An absolute master of every technical detail, a disarming ease in the execution of the octaves, in the double notes arpeggios, in the ribattutos and in the jumps: briefly, an astonishing proof of ability without any concession to the drama, to the choreography, to the exaggerations.“
My academic commitment
I consider my courses as an artisanal workshop, where to “learn” the job of a pianist yet working on concrete facts, with the heart, the head and the hands. We learn the art of listening, listening to ourselves first, to the sound we produce, and to consequently develop the critical sense given by our self-awareness. The ear and the basic musical culture are our northern stars. At a glance, for me, teaching means the transmission to my students of whatever I have personally learned in my life as pianist, whatever I keep learning every day.
He made his Italian debut in 70s thanks to some very important international competitions he was awarded in Afterwards. He started a prestigious piano concert career, performing in the most important theatres worldwide. Nowadays Daniel Rivera is widely renowned and highly esteemed worldwide within the piano concert landscape, considered a pioneer of piano challenges and a performer of programs and works very rarely played. This impressive and worldwide unique transcription captured the interest of Martha Argerich, who personally invited Rivera to the “Progetto Martha Argerich” in Lugano, where he performed in June 2009. Since that time, the link with the legendary Argentinian pianist turned into an intense artistic cooperation ( to be continued)
My next appointments
Having left us in no doubt of his mastery of these pieces, he went on to scale that other mountain marked on pianistic maps as the Hammerklavier Sonata of Beethoven. As an interpretation, this giant work fulfilled the promise held out earlier by the Bagatelles, a sharp and clear vision being maintained in each movement. Obviously the very long slow movement is the most severe test, and Mr.Rivera’s brooding concentration produced a reading of exceptional purity and directness. Likewise, the concluding fugue imposes the greatest technical strain especially as clarity must be absolute, and Mr.Rivera was here nearly immaculate.
Max Harrison (The Times)
“A touch that marvels because of the truth of the attacks, a precise rhythmic sense, a fluid and impeccable technique, a mastery of nuances where the impetuosity of sound never prevents perfect clarity.”
Liliana Cortese Farina
“His technique has no limits, as well as his repertoire, with a particular predilection for Liszt and for the more inaccessible compositions, where the articulation and the clarity go hand in hand with his love for the speed and for the power of sound. A collector of primacies, we may say: a virtuoso.”
“Rivera doubles: a charming Liszt” … he faced with great naturalness and expressive intensity, an artwork where it is necessary to have skilled hands but also candor of fantasy, formal rigor and stylistic awareness, so a really gigantic Liszt arose.”