• slidebg1
    June 19 2019
    La Seine Musicale
    Boulogne-Billancourt, France
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    July 17 2019
    Festival de Musique Château de Dio
    Dio-et-Valquières, France

Biography

Born in 1993 in Saint-Cloud, France, Ingmar Lazar started playing the piano when he was 5. He made his debut at the age of 6 at the Salle Gaveau in Paris.

At the age of 10, he won the International EPTA Competition in Namur, Belgium, and in 2008, the C.I.M. International Competition in Val d'Isère, France. He received the Tabor Foundation Piano Award at the Verbier Festival, Switzerland in 2013, and became laureate of the Safran Foundation for Music, France in 2016.

He was invited to perform in the world's most prestigious halls such as the Great Hall of the Tchaikovsky Conservatory and the International Performing Arts Centre in Moscow, Charles Bronfman Auditorium in Tel Aviv, Concertgebouw in Amsterdam, Herkulessaal in Munich, International Mozarteum Foundation in Salzburg, Romanian Athenaeum, and the Seine Musicale in Paris to name a few, as well as in many festivals including Festspiele Mecklenburg-Vorpommern, European Weeks Festival in Passau, La Roque d'Anthéron International Piano Festival, Colmar International Festival, Dinard International Music Festival, Festival Chopin in Paris, Festival Les Piano Folies in Le Touquet-Paris-Plage, Festival 1001 Notes in Limousin and Estate Regina Music Festival in Montecatini Terme.

He performed under the baton of Julien Chauvin, Anna Duczmal-Mróz, Constantin Adrian Grigore, Jean-Jacques Kantorow, Nicolas Krauze, Vladimir Spivakov, Peter Vizard, and with orchestras such as the National Philharmonic of Russia, the Moscow Virtuosi, the Orchestre Lamoureux, the Toruń Symphony Orchestra, Le Concert de la Loge, the Romanian Radio Chamber Orchestra, the Lviv Philharmonic Academic Symphony Orchestra, the Orchestra Sinfonica del Festival di Chioggia.

As a chamber musician, he shares the stage with Alexandre Brussilovsky, Nicolas Dautricourt, Benjamin Herzl, Stanislas Kim, Jean-Claude Pennetier, Fedor Rudin, François Salque, Christoph Seybold, Ekaterina Valiulina, Brieuc Vourch, the Quatuor Hermès, and the Vision String Quartet.

His concerts were broadcast on radio (France Musique, France Inter, BR-Klassik, SRG SSR - Radio Swiss Classic, RTS - Espace 2, ORF-Ö1, NPO Radio 4, Radio România Muzical) and on television (Mezzo, TF1, M6). He recorded several CDs both as a soloist and in duo with violinist Alexandre Brussilovsky for the Suoni e Colori label. His recording including Schubert's Wanderer Fantasie and Sonata D.959 released in 2017 on the Lyrinx label received a five star rating from the Classica magazine, as well as being awarded with "France Musique's Choice". A Beethoven recital (Bagatelles op. 33, Sonatas op. 81a "Les Adieux" and op. 111) recorded live at the National Theatre in Marseille "La Criée" was released in February 2019 on the same label.

A former student of Valery Sigalevitch in Paris, he continued his studies with Vladimir Krainev and Bernd Goetzke at the Hochschule für Musik, Theater und Medien Hannover. Thereafter he attended the International Piano Academy Lake Como and the Conservatory of the Italian Switzerland (Lugano) as a Theo Lieven scholar, where he studied with Dmitri Bashkirov, Malcolm Bilson, Fou Ts'ong, and Stanislav Ioudenitch. He received his Master's degree in Performance from the Universität Mozarteum Salzburg in the class of Pavel Gililov with the highest distinctions. He is a scholarship holder of the International Academy of Music in Liechtenstein and participates regularly in its activities, and is also a member of the Philippe Jaroussky Music Academy.

Since 2016, Ingmar Lazar has been the founder and artistic director of the Festival du Bruit qui Pense, located in Louveciennes in the Yvelines, in north-central France. Its goal is to create strong ties between artists and the audience with interactive post-concert interviews and discussions.

Concerts

2019

November 27-28 2019

Young Talents Competition Rotary 2019
Jury member

November 23 2019

Paris, France
Private Duo Recital with Christoph Seybold (violin)
Works by Mozart and Beethoven

October 12 2019

Paris, France
City Hall of the 15th arrondissement
With the Via Luce Orchestra, Peter Vizard (conductor)
Works by Mozart : Piano Concerto nº 24

September 17 2019

Galerie Thomas Modern - Munich, Germany
Friends of Rudens Turku e.V.
Duo with Benjamin Herzl (violin)
Works by Schubert and Pärt

September 16 2019

Lourmarin, France
Festival des Musiques d'été du Château de Lourmarin
Recital
Works by Haydn, Chopin, Liszt, Boulez, Enescu, and Scriabin

September 10 2019

Lourmarin, France
Festival des Musiques d'été du Château de Lourmarin
Duo Recital with Benjamin Herzl (violin)
Works by Mozart, Schubert, Debussy, and Ravel

August 31 2019

Melle, Germany
Musikfest Wasserschloss Gesmold
Gesmold Castle
Recital
Works by Ravel

July 18 2019

Dio-et-Valquières, France
Festival de Musique Château de Dio
Duo Recital with Brieuc Vourch (violin)
Works by Brahms, Schumann et Strauss

July 17 2019

Dio-et-Valquières, France
Festival de Musique Château de Dio
Recital
Works by Haydn, Beethoven, Chopin, Enescu, and Scriabin

July 12 2019

Sceaux, France
Festival de l'Orangerie de Sceaux
Solo, Duo and Trio Recital with Boris Blanco (violin) and Polina Streltsova (cello)
Works by Scriabin, Martinů, Bartók, and Dvořák

July 7 2019

Redon, France
Les Musicales de Redon
Abbatiale Saint-Sauveur
Duo Recital with Brieuc Vourch (violin)
Works by Brahms, Schumann, and Strauss

29 juin 2019

Compiègnes, France
Festival des Forêts
Duo Recital with Pavel Šporcl (violin)
Works by Martinů, Kocián, and Dvořák

June 19 2019

Boulogne-Billancourt, France
La Seine Musicale
St Peter's Church
With the Ensemble Appassionato, Mathieu Herzog (conductor)
Works by Shostakovich

June 9 2019

Sankt Gilgen, Austria
Mozarthaus St. Gilgen
Duo Recital with Benjamin Herzl (violin)
Works by Mozart, Schubert, Debussy, and Ravel

June 7 2019

Kapellen, Belgium
Atelier of Enny Huylebroeck
Private Recital
Works by Haydn, Beethoven, Chopin, and Scriabin

May 25 2019

Montrouge, France
Nouveaux virtuoses
Médiathèque de Montrouge
Recital
Works by Haydn, Beethoven, Chopin, and Scriabin

May 17 2019

Paris, France
Municipal Conservatory of the 9th arrondissement
Jury member for undergraduate and graduate exams

May 10 2019

Paris, France
Philomuses
Recital
Works by Haydn and Prokofiev

May 4 2019

Paris, France
Le Grand Live de France Musique
Théâtre de l'Alliance Française
Chamber Music Concert with Boris Blanco (violin), Hector Burgan (violin), Marine Chagnon (mezzo-soprano), Philippe Jaroussky (countertenor), David Kadouch (piano), Christian-Pierre La Marca (cello), Maxime Quennesson (cello), Ugo Reser (cello)
Works by Brahms, Dvořák, Fauré, Liadov, Popper, and Saint-Saëns

April 30 2019

Graz, Austria
Der Ö1 Musiksalon
Minoritensaal
Chamber Music Concert with Benjamin Herzl (violin), Harald Herzl, (violin), Daniela Beer (violin), Benedict Mitterbauer (viola), and Marcus Pouget (cello)
Works by Chausson and Saint-Saëns

April 14 2019

Andermatt, Switzerland
Klassik-Osterfestival Andermatt
Trio Concert with Ekaterina Valiulina (violin) and Stanislas Kim (cello)
Works by Mendelssohn, Brähm, Rachmaninoff, and Ravel

March 31 2019

Louveciennes, France
Festival du Bruit qui Pense
Salle Camille Saint-Saëns
Solo, Duo and Trio Concert with Nicolas Dautricourt (violin), and François Salque (cello)
Works by Kodály, Popper, Liszt, and Dvořák

March 23 2019

Louveciennes, France
Festival du Bruit qui Pense
Salle Camille Saint-Saëns
Duo Concert with Jean-Claude Pennetier (piano)
Works by Schubert

March 22 2019

Paris, France
Association Arthèmes
Hungarian Institute
Recital
Works by Beethoven, Chopin, Ravel, and Liszt

March 7 2019

Zell am See, Austria
Jeunesse - Musikalische Jugend Österreichs
Pfarrsaal
Duo Recital with Benjamin Herzl (violin)
Works by Beethoven, Schubert, Saint-Saëns, and Franck

March 2 2019

Paris, France
Le Grand Live de France Musique
Théâtre de l'Alliance Française
Concert
Works by Ravel

February 27 2019

Paris, France
City Hall of the 15th arrondissement
Récital
Works by Beethoven and Liszt

February 22 2019

Anthering, Austria
Kulturverein Anthering
Rossstall
Duo Recital with Benjamin Herzl (violin)
Works by Schubert, Saint-Saëns, and Franck

February 19 2019

Munich, Germany
Klassik vor Acht
Herkulessaal
Recital
Works by Beethoven, Ravel and Liszt

February 12 2019

Paris, France
Goethe-Institut
Recital
Works by Beethoven and Liszt

February 2 2019

Paris, France
Les Nocturnes de l'Aude
Recital
Works by Beethoven, Ravel, and Liszt

January 29 2019

Paris, France
Musée Marmottan-Monet
Recital
Works by Beethoven, Ravel, and Liszt

January 25 2019

Paris, France
MPAA Saint-Germain
With the Via Luce Orchestra, Peter Vizard (conductor)
Beethoven: Piano Concerto nº 4

Archives 2018

December 21 2018  -  Boulogne-Billancourt, France  -  La Seine Musicale  -  With Josquin Otal (piano), Le Concert de laLoge, Julien Chauvin (conductor)   -  Concerti for one and two pianos by J. S. Bach

December 9-16 2018  -  Singapore Hapag-Lloyd Cruises MS Europa 2  -  Two Chamber Music Concerts with Ekaterina Valiulina (violin), Christoph Seybold (violin), Muriel Razavi (viola), and Marcin Sieniawski(cello)  -  Works by Liszt, Brahms, Liadov, Enescu, Waxman, and Saint-Saëns

December 5 2018  -  Paris, France  -  Private Recital  -  Duo and Trio with Christoph Seybold (violin), and Adrien Frasse-Sombet (cello) Works by Mozart, Waxman, and Brahms

December 4 2018  -  Paris, France  -  Le 19 LCL  -  Private Recital  -  Works by Chopin, Schumann, Liadov, Rachmaninoff, Ravel, and Liszt

December 1 2018  -  Geneva, Switzerland  -  L'Abri Foundation  -  Duo Recital with Ekaterina Valiulina (violin)  -  Works by Beethoven, Tchaikovsky and Prokofiev

November 17 2018  -  Chelles, France  -  Friandises Musicales  -  Logis d'Euterpe  -  Duo Recital with Ekaterina Valiulina (violin)  -  Works by Beethoven, Tchaikovsky and Schumann

November 13 2018  -  Bratislava, Slovakia  -  New Masters on Tour  -  Small Hall of the Slovak Philharmonic  -  Recital  -  Works by Ravel and Liszt

November 4 2018  -  Amsterdam, Netherlands  -  New Masters on TourRecital  -  Hall of the Concertgebouw  -  RecitalWorks by Ravel and Liszt

October 31 2018  -  Bergen, Netherlands  -  New Masters on Tour  -   Private Recital  -  Works by Ravel and Liszt

October 29 2018  -  Texel, Netherlands  -  New Masters on Tour  -  Hervormde Kerk Den Hoorn  -  Recital  -  Works by Ravel and Liszt

October 14 2018  -  Tamsweg, Austria  -  Jeunesse - Musikalische Jugend Österreichs  -  Schloss Kuenburg  -  Duo Recital with Benjamin Herzl (violin)  -  Works by Beethoven, Schubert, Saint-Saëns, and Franck

September 24 2018  -  Boulogne-Billancourt, France  -  La Seine Musicale  -  Season Opening of the Académie Musicale Philippe Jaroussky  -  Works by Ravel

August8-15 2018  -  La Roque-d'Anthéron, France Festival de la Roque d'Anthéron  -  Ensemble in Residence together with Brieuc Vourch (violin)

July21 2018  -  Limoges, France  -  Festival 1001 Notes Espace Cité  -  Solo and Duo Recital with Brieuc Vourch (violin)  -  Works by Strauss, Liszt, Pärt, and Strauss

July12 2018  -  Lourmarin, France  -  Festival des Musiques d'été du Châteaude Lourmarin  -  Duo Recital with Benjamin Herzl (violin)  -  Works by Grieg, Beethoven, Saint-Saëns, and Franck

July 9 2018  -  Lourmarin, France  -  Festival des Musiques d'été du Château de Lourmarin  -  Recital  -  Works by Mozart, Beethoven, Schumann, and Liszt

July 1 2018  -  Paris, France  -  Cercle Cendrars  -  Private Solo and Duo Recital with Adrien Frasse-Sombet (cello)  -  Works by Saint-Saëns, Fauré, Debussy, Elgar, Chopin, Schumann, Kreisler, and Brahms

June 11 2018  -  Paris, France  -  Festival des Cultures Juives  -  City Hall of the 3rd arrondissement  -  Recital Works by Ravel, Chopin and Liszt

June 7 2018  -  Sutton Courtenay, United Kingdom  -  The Abbey Sutton Courtenay  -  RecitalWorks by Ravel, Chopin and Liszt

June 5 2018  -  London, United Kingdom  -  St Martin-in-the-Fields  -  Duo Recital with Brieuc Vourch (violin)  -  Works by Händel, Franck and Saint-Saëns

June 1 2018  -  Kapellen, Belgium  -  Atelier of Enny Huylebroeck  -  Private Recital  -  Works by Ravel, Chopin and Liszt

May 29 2018  -  Brussels, Belgium  -  Private Recital  -  Works by Ravel, Chopin and Liszt

May 26 2018  -  Geneva, Switzerland  -  L'Abri Foundation  -  Recital  -  Works by Chopin and Liszt

May 22 2018  -  Biel, Switzerland  -  Révélations -Jeunes maîtres  -  Farelsaal  -  Duo Recital with Ekaterina Valiulina (violin)  -  Works by Schumann, Andres, and Prokofiev

May 12 2018  -  Cremona, Italy  -  Palazzo Cattaneo Ala Ponzone  -  Duo with Ekaterina Valiulina (violin)  -  Works by Schumann

May 5-6 2018  -  Paris, France  -  Young Talents Competition  -  Rotary 2018  -  Rossini and his era  -  Jurymember

April 9 2018  -  Marseille, France  -  La Criée - National Theatre  -  Recital  -  Works by Mozart, Chopin, Prokofiev, Ravel, and Liszt

March 25 2018  -  Magny-les-Hameaux, France  -  Festival du Bruit qui Pense  -  National Museum of Port-Royal des Champs, Salle Gazier  -  Recital Works by Mozart, Beethoven, Ravel, and Liszt

March 24 201  -  Magny-les-Hameaux, France  -  Festival du Bruit qui Pense  -  National Museum of Port-Royal des Champs, Salle Gazier  -  Duo and trio with François Salque (cello) and Brieuc Vourch (violin)  -  Works by Fauré, Brahms, Debussy, and Mendelssohn

March 19 2018  -  Paris, France  -  Embassy of Austria  -  Duo Recital with Brieuc Vourch (violin)  -  Works by Kreisler and Korngold

March 9 2018  -  Berlin, Germany  -  Piano Salon Christophori  -  Duo and trio with Brieuc Vourch (violin) and Ella van Poucke (cello)  -  Works by Schubert, Franck and Mendelssohn

February 27 2018  -  Paris, France  -  Festival du Bruit qui Pense  -  Private Recital for the Patrons of the Festival  -  Works by Beethoven, Chopin, Rachmaninoff, and Ravel

January 26 2018  -  Salzburg, Austria  -  Universität Mozarteum Solitär  -  Recital  -  Works by Beethoven, Prokofiev, and Ravel

Media

Discography

Ingmar Lazar – Beethoven

Ludwig van Beethoven

Sonata No. 26 in E-flat Major « Les Adieux », op. 81a

7 Bagatelles, Op. 33

Sonata No. 32 in C Minor, Op. 111

Lyrinx LYR 305

Ingmar Lazar – Schubert

Schubert
Wanderer-Fantasie in C Major Op. 15, D.760

Schubert/Liszt
Der Wanderer S. 558, No. 11

Schubert
Sonata No. 20 in A Major, D. 959

Lyrinx LYR 2302

Jean-Philippe Rameau (1683-1764)
Suite in G
Ingmar Lazar, piano


Claude Debussy (1862-1918)
Sonata for violin and piano
Alexandre Brussilovsky, violin
Ingmar Lazar, piano


Sonata for cello and piano
Natalia Khoma, cello
Volodymyr Vynnytsky, piano


La Mer
transcription for two pianos and six hands by André Caplet (1878-1925)
Andriy Dragan, piano I
Oxana Rapita & Myroslav Dragan, piano II


Suoni e Colori SC253532

Jean Françaix (1912-1997)
Concerto no. 2 (1979) for violin and orchestral ensemble
Alexandre Brussilovsky, violin
"Lviv Virtuosi" Orchestra
Jean-Jacques Kantorow, conductor


Sonatina (1934) for violin and piano
Alexandre Brussilovsky, violin
Ingmar Lazar, piano


Preludio and momento capriccioso by Carl Maria von Weber (1964) for 2 violins, viola, cello, and harp
Alexandre Brussilovsky & Gabriel Tchalik, violins
Benjamin Beck, viola
Benjamin Truchi, cello
Pauline Haas, harp


Five Sonatas by Domenico Scarlatti (1975) for flute, violin, viola, cello, and harp
Pessoa Quintet

Divertimento (1974) for flute and chamber orchestra
Matteo Cesari, flute
Orchestra of the Lviv National Lysenko Academy
Yuri Bervetsky, conductor


Suoni e Colori SC253522



Koletchko - The Little Engagement Ring
Jewish Music from the 20th Century for Violin - Volume II

Joseph Achron (1886-1943)
Scissors (Nuptial Dance) for violin and piano
Jewish Lullaby for violin and piano


Efrem Podgaits (1949-)
Partita for violin solo
Elegy for violin and piano
Waltz for a Non Existing Movie for violin and piano
Ironical Pas de Deux for violin and piano
Melancholic Angel for violin solo
Kol Nidrei for violin and strings
Koletchko - the Little Engagement Ring for violin and strings

Alexandre Brussilovsky, violin
Ingmar Lazar, piano
Ensemble Ricercata de Paris


Suoni e Colori SC253432



Heaven's Gate
Jewish Music from the 20th Century for Violin – Volume I

Paul Ben-Haim (1897-1984)
Sonata in G Major for violin solo

Mieczyslaw Weinberg (1919-1996)
Sonatina Op. 46 for violin and piano

Mikhail Bronner (1952-)
Adam and Eve for violin and bayan
Heaven's Gate for violin and strings

Alexandre Brussilovsky, violin
Ingmar Lazar, piano
Maria Vlassova, bayan
Ensemble Ricercata de Paris


Suoni e Colori SC253422

Reviews

France Inter, « Classic & Co » - 13 avril 2019

"Ingmar Lazar displays as much power as finesse. His playing is deep, and moves the listeners by its unaffected straightforwardness. The revelation of an engaging and very sensitive artist." Anna Sigalevitch


Süddeutsche Zeitung - February 20 2019

"The account he gave of Beethoven's Sonata Op. 111 in Munich's Herkulessaal was astounding. He conceived the first movement in an almost lyrical manner, where most pianists set in stone the strength of the chords. (...). In doing so, Lazar searched for beauty with his tone production. (...) The virtuosic ending of [Ravel's] « Alborada del gracioso » was brilliantly controled, (...) as well as a stupendous Mephisto Waltz No. 1 by Liszt (...)." Andreas Pernpeintner


Classica - June 2018

"The theme of the Wanderer, which is the significant common thread of his Schubert recording, illustrates all of his interpretative approach. The Wanderer Fantasie requires not only practically Lisztian pianistic qualities, but also a mental organization that is necessary to unite Schubert's different states of mind. Ingmar Lazar displays a convincing musical narration, and a sense of urgency that doesn't deprive choices of well-thought tempi. His impressive virtuosity never interferes with the global musical quality, which is the one of a true storyteller with a natural sense of breath. Liszt's transcription of the lied « Der Wanderer » was performed with a beautiful touch and a great sense of theatrical culmination. In the Sonata D.959, the mastery of the elements between violence and vocal declamation was rendered with power and suppleness, fluidity and lyricism, well-served by a refined sound recording. A superb achievement which stands up to best performers including Serkin, Lupu, Leonskaja, Zacharias for the Sonata, and Arrau, Brendel, Fleisher, Richter, or the inimitable Sofronitsky for the Wanderer Fantasie."Michel Le Naour


Opus Haute Définition - January 29 2018

"Ingmar Lazar doesn't lack personality, and this can be heard from the very first notes of [Schubert's] Wanderer Fantasie. With fire and fervor, sounds are crafted, chiseled, and shaped within a flamboyant musical discourse, displaying beautiful singing melodic lines. Ingmar Lazar unveils a Schubert that is more classical than romantic, more « Beethovenian » to a certain extent. This could surprise, but the uncompromising technique of the French pianist hits home for a constant musical delight. A first SACD to be urgently discovered!" Jean-Jacques Millo


France Inter, « Classic & Co » - January 14 2018

« Ingmar Lazar offers us a straightforward performance of Schubert's music. A piano playing that can be as powerful as it can be delicate, which sings, breathes widely, moves and touches the listener. » Anna Sigalevitch


Musikzen - December 16 2017

The promising Schubertian temperament of the young Ingmar Lazar

« Ingmar Lazar demonstrates effortless technique for this repertoire, and an artistic maturity demanding to blossom even more. He possesses – and it is here the most important – the sense of Schubertian timing, with it's heavenly lengths (as Schumann was saying), and where digressions often lead to fulfillment. » François Lafon


Radio România Muzical - January 26 2016

Ingmar Lazar at the Romanian Athenaeum

« The pianist accomplished an extraordinary task by bringing all of the musical intentions to life; this endeavour seemed to take all but his last drop of energy. (…) Ingmar Lazar demonstrated a beautiful clarity of style, as well as a very rational approach regarding the development of the repertoire's architectural process.

Ingmar Lazar at the Romanian Athenaeum

« The pianist accomplished an extraordinary task by bringing all of the musical intentions to life; this endeavour seemed to take all but his last drop of energy. (…) Ingmar Lazar demonstrated a beautiful clarity of style, as well as a very rational approach regarding the development of the repertoire's architectural process.

Given his attitude on stage, one could often forget what a young musician we had in front of us. (…)

The « romantic » second half of the concert was a triumphant conclusion to a recital which had already proven itself a success. » Radu Mihalache


Adevărul.ro - January 25 2016

Ingmar Lazar at the Romanian Athenaeum

« On January 24th, at the 80th anniversary of the opening of the French Institute of Bucharest, the young French pianist Ingmar Lazar gave a recital at the Romanian Athenaeum. His interpretation was full of sensitivity: considered by some to be the best French pianist of the new generation, he exceeded the expectations of the audience with great brilliance.

Ingmar Lazar at the Romanian Athenaeum

« On January 24th, at the 80th anniversary of the opening of the French Institute of Bucharest, the young French pianist Ingmar Lazar gave a recital at the Romanian Athenaeum. His interpretation was full of sensitivity: considered by some to be the best French pianist of the new generation, he exceeded the expectations of the audience with great brilliance.

(…)

On the stage of the Athenaeum, Ingmar Lazar seemed to be unassuming and fragile, which made me think of the delicate personality that I imagine Frédéric Chopin to have had. The young man was actually not fragile at all: after the organizers forgot to take the music stand out of the piano, he lifted it as if it were a feather. And there was another surprise thereafter that remained to be discovered. Finally, with eyebrows furrowed, I entered into the magic of the music along with the soloist and the public.

The culmination of the evening was obviously the Andantino of Schubert's Sonata in A Major D.959 – the emotional interpretation reinforced the romantic impression that I mentioned above. But the surprise came in the more powerful part of the programme, represented by Mozart's Sonata in C minor KV. 457 and Liszt's Mephisto Waltz No. 1, which were performed with great passion and musical power. (…)

The general impression I received from the interpretation, beyond the beauty of the programme itself, was that I had observed a musician with an original and personal way of playing, who succeeded effortlessly in juggling various musical styles.

The audience could fully enjoy the delights of the ears and the movements of the heart, as a writer-chronicler from two centuries ago would have said. The soloist thanked them after their long applause with the wonderful Prelude after Bach by Alexander Siloti in B minor, an encore that remained in our memories and warmed us throughout the frosty way home. » Dragoş Butuzea


swissclassic.org - November 14 2014

A Young Master of the Piano

« Aged 21, coming from Paris and having studied with some of the most famous and respected professors, Ingmar Lazar started with a Suite in G by Jean-Philippe Rameau from the 3rd Book of Pieces for Harpsichord (1726). Finely chiseled music enriched with numerous ornamentations. Work for a clear mind, as well as the fingers. ...

A Young Master of the Piano

« Aged 21, coming from Paris and having studied with some of the most famous and respected professors, Ingmar Lazar started with a Suite in G by Jean-Philippe Rameau from the 3rd Book of Pieces for Harpsichord (1726). Finely chiseled music enriched with numerous ornamentations. Work for a clear mind, as well as the fingers. It was a real pleasure to listen to Ingmar Lazar, playing on the modern piano instead of the harpsichord with equal precision and accuracy, lively and vivid, with a perfect understanding of the late French baroque style, and without succumbing to dryness. A perfectly successful first impression.

After Rameau followed Ravel. Claude Debussy as well as Maurice Ravel often looked back upon Rameau and their predecessors of the 18th century. To continue the programme with Ravel was, in this sense, perfectly logical. We heard Une barque sur l'océan, followed by Alborada del gracioso, pieces from Miroirs, composed between 1904 and 1906. These two pieces were orchestrated by Ravel, and there is an unintentional expectation to hear all the richness of the orchestra's colours on the piano. In the Barque sur l'océan, it was the piano sonority that dominated at the beginning. But it would also be logical to perform the original piano version in a pianistic way. We started to listen with our eyes as well during his execution – the big waves, the foam, the noise of the wind, the acoustic and the visual were united and mixed with each other. Many subtle colours came out of the instrument. The Alborada del gracioso started strictly and firmly, exactly as it should for this imitation of a Spanish guitar. The central part is freer and almost improvised, but the absolute clarity and precision of the interpreter remained, and he succeeded in creating the ideal atmosphere that is required here, with the outbursts, the quivering glissandi, the repeated notes, and the orchestral colours as well. The playing of Ingmar Lazar is fascinating in its diversity and richness, technically flawless and at the same time in possession of a great orchestral logic.

At the end of the first French part of the recital, we discovered for the first time in Biel, perhaps even in Switzerland, the Cinq préludes composed in 1997 by the composer Éric Tanguy (born in 1968). These are again highly demanding pianistic pieces, the first one very virtuosic, the others more lyrical, and the last one almost violent, with thundering fortississimo octaves. These works immediately seduced the public, and Ingmar Lazar performed them in an ideal manner.

The listeners were delighted after the intermission with Chopin's Ballade No. 4 in F minor Op. 52 and the two Nocturnes Op. 48. I say « delighted » because the interpretation of the young pianist was a great moment full of emotion. In the Ballade, Ingmar Lazar told an imaginary story with a perfect understanding of the dramatic development, extracting wonderful colours out of the piano, and making it sing as well. The Nocturne in C minor was an event in itself in this overwhelming performance, and the following piece in F-sharp minor was a delicate answer to the drama of the previous one.

The programme ended with Alexander Scriabin's Sonata No. 5 in F-sharp Major, which confirmed essentially all that we had heard until then: an unerring sense of the work's structure, a fearless approach and an uncompromising artistical message with a transcendent technique, reaching a great liberty of expression. The listeners who came out of pure curiosity to discover a young talent left the concert after an encore by Liadov with the feeling of having met a young master of the piano, and that they had had the luck to attend an enriching experience. » Daniel Andres


Conservatoire Frédéric Chopin - December 13 2012

« Ingmar Lazar presented an exceptional recital with works by Chopin and Szymanowski on Wednesday, 12 December 2012 at 8 p.m. Even though he is still a student at the Hochschule in Hanover and despite his young age, Ingmar is already an accomplished pianist who has a musical conception that goes beyond the surface of the works and habits considered traditional. » Peter Vizard

 


Dernières Nouvelles d'Alsace - July 10 2012

« Mozart's Piano Concerto No. 9, known as «Jeunehomme », is quite a large-scale piece that reflects the astonishing maturity of the young composer. (…) We were captivated by the almost cheerful abundance and eloquence of the first movement. The synthesis of the soloist and the Russian orchestra, more than their dialogue, was the main quality of this performance: it went its expressive way without forcing the text. The tragic Andantino in C minor was played without insistence on the excessive weight that some put into it. The sprightly Finale was performed as it should be, always light in spirit and dark of texture. This went well with the simple classicism that is always so difficult to sustain. Almost everywhere, the instinctive feeling of the soloist was evident. » Pierre Chevreau


Der Westen - February 27 2012

« In the interpretation of Scriabin's 5th Sonata given by Ingmar Lazar, who is only 18 years old, the extreme contradictions seemed to answer to each other in a significant manner. » Roland Dymke

 


Nordkurier - June 25 2010

Festspiele Mecklenburg Vorpommern
The Paris-born pianist Ingmar Lazar impressed with a Chopin recital


« Following his sparkling Liszt programme last year, he played in Vorpommern on Wednesday evening. (…) This time, he had prepared a purely Chopin programme in honor of the Chopin anniversary. ...

Festspiele Mecklenburg Vorpommern
The Paris-born pianist Ingmar Lazar impressed with a Chopin recital


« Following his sparkling Liszt programme last year, he played in Vorpommern on Wednesday evening. (…) This time, he had prepared a purely Chopin programme in honor of the Chopin anniversary.

Youthful, black suit, white shirt, no tie, with an attitude that reflects calmness, he strode onto the stage with a serious face, turned to the audience, smiled politely, sat down at the instrument and immediately became introspective. He began the Fantaisie in F minor as if improvising, still searching.

Gradually, he worked himself into a fury, opened the dynamics for the forte and built up to a robust sound, raising his playing to an almost hectic virtuosity which was able to base itself on an amazingly brilliant accuracy. The programme continued with two Nocturnes and the Polonaise in F-sharp minor, the latter performed with emphasized fieriness for dramatic effect. Occasionally, the young pianist allowed both hands to differ metrically from each other, creating the impression of spontaneous inspiration without a hint of perfect reproduction - even in the fast passages.

The evening continued with the technical finesse of two Etudes from Opus 25. The cascades in the right hand effervesced wildly in A minor over the simple bass motive that every Chopin lover has been brought up on. And the double octaves in B minor came across as thundering eruptions which shook the player's whole body.

But Lazar's fingers are also suited to the sensitive side of Chopin's piano style. He sometimes sings along quietly to the melodic treble parts while allowing middle-range tones to seep out of them, thereby changing the direction of the harmonic current unexpectedly into surprising new paths, and allowing himself time for delicately placed chords.

(…)

In the Sonata in B-flat minor, the pianist developed the greater portion of his expressiveness with dramatic themes which demanded enormous virtuosity and led him to the edge of ecstasy. » Michael Baumgartl


Schaumburger Wochenblatt - March 24 2010

Ingmar Lazar brings Frederic Chopin back to life Brilliant piano concert delights the audience

« Frederic Chopin (…) would have thoroughly enjoyed sitting in the Spiegelsaal 200 years later and being witness to a musically exceptional talent performing his works with virtuosity. (…) Ingmar Lazar brilliantly understands how to bestow Chopin's musical works with his own interpretation. His concentration, his intuition and his ear for musical nuances were very impressive. (…) His concert was a delight from the opening piece onwards. His Etudes and Mazurkas were as brilliant as his Waltz. (…) The audience bid their farewell to Ingmar Lazar with a standing ovation. »

 


România Mare - March 5 2010

A Young Genius

« During the extraordinary concert at the Mihail Jora Concert Hall in Bucharest, Ingmar Lazar performed the Chopin Piano Concerto No. 1. I am not mistaken in declaring that a new Dinu Lipatti has been born, with a technique floating on the perfumed water of excellence and a sensitivity that reminds me of the famous great neo-romantic artists like George Enescu. » Doru Popovici

 


Aller-Zeitung - September 24 2007

« Ingmar Anthony Lazar mastered Beethoven's Waldstein Sonata brilliantly. The fast-paced runs and polyphonic trills seemed to cause the 14-year-old as little difficulty as did Chopin's Polonaise Op. 44, impressive in its temperament and expressiveness. »

 


La Lettre du Musicien - Mai 2004

« Ingmar Anthony Lazar, at ten years old, gave a light, vivid, sparkling, really convincing performance of Liszt's Gnomenreigen. » Sylvia Avrand-Margot

 


Musikzen - March 25 2019

Ingmar Lazar's invigorating Beethoven

"(...) for the young French pianist trained in Italy, Switzerland, Germany, and Austria, the Seven Bagatelles [Op. 33] are the perfect way to display an invigorating and nimble playing in a short form - particularly the delightful pirouettes of the Fifth. Sense of drive but also of restraint are cleverly balanced, in the same spirit of his Schubert album, which suit well to the tempestuous Sonata No. 26 « Les Adieux » (...)." Franck Mallet

 


Journal Zibeline - August 2018

"A wonderful ethereal performance of Franck with Brieuc Vourch and Ingmar Lazar" Jacques Freschel

 


L'Abri - May 2018

"The (...) Mephisto Waltz No.1, S.514 was measured and structured with a touch that is fluid, nuanced, and engaging in the outburst of notes and chords. His interpretation leaves a strong emotional impression. This concert could not have been imagined without this exceptional performer."

 


L'Abri - November 2017

« Ingmar Lazar is a pianist with brilliant technique. The most perfect example of it was to be found in his performance of La Campanella, from the Grandes études de Paganini S.141, in G-sharp minor. ...

« Ingmar Lazar is a pianist with brilliant technique. The most perfect example of it was to be found in his performance of La Campanella, from the Grandes études de Paganini S.141, in G-sharp minor.

The programme of his recital, very well structured, started with the Seven Bagatelles Op. 33 by Ludwig van Beethoven, as to prepare the audience for Liszt's arrival with his transcription of Schubert's Der Wanderer, followed by the overflowing La Campanella that the young performer carried to glory with the vigor of desire. (…) The musical personality of this performer has to be spread… further and further! »


România Mare - February 29 2016

Angel wings on the keyboard

« On the frosty evening of January 24th, the full house of concertgoers at the Romanian Athenaeum was enthralled by the young French pianist Ingmar Lazar. ...

Angel wings on the keyboard

« On the frosty evening of January 24th, the full house of concertgoers at the Romanian Athenaeum was enthralled by the young French pianist Ingmar Lazar. Invited by the French Embassy in honor of the 80th anniversary of the creation of the French Institute of Bucharest, the performer truly bewitched his public with a brilliant programme: Franz Schubert's Sonata D. 959 in A Major; Wolfgang Amadeus Mozart's Sonata KV. 457 in C minor; Frédéric Chopin's Ballade No. 4 in F minor; George Enescu's Pièce sur le nom de Fauré; and Franz Liszt's Mephisto Waltz No. 1. A rich and demanding programme performed with depth (Schubert), a velvet touch and diaphanous sonorities (Mozart), profound delicacy (Chopin), maturity (Enescu), and an irresistible and impetuous grasp (Liszt).

(…)

I am still overwhelmed by the dazzling presence of the artist six years ago in his first appearance at the Radio Hall [in Bucharest], where he performed Chopin's 1st Concerto and moved his audience to tears of happiness. Ingmar Lazar is a certainty. A brilliant career awaits him, for the joy of those who will hear him. » Alina Muşat Popovici


Raftul cu idei - January 26 2016

Ingmar Lazar, the piano whisperer

« [Ingmar Lazar] is a real piano whisperer: he tames the piano, educates it, argues with it, caresses it, plays with it, quarrels with it, and fights with it. During his nearly two-hour long recital, I had the impression that he went through a whole range of possible relationships, using up verb after verb, and I thought the only thing left for him to do at the end was to marry the piano under our prolonged applause. In an attitude worthy of Dickens, « Please sir, may I have some more? », we were begging to hear more. » Ivona Boitan

 


Cahiers Bernard Lazare - May 2015

« Could one imagine Schubert's great Sonata in A Major, D. 959 performed more beautifully, more tenderly, and in a simpler way? The evenness of a refined touch in perfectly curved lines gently brought us the modesty of the theme. This was followed by other sound and rhythmical qualities in a sensual Ravel, a stunning finale of Prokofiev's Sonata No. 4, and delightful pieces by Rameau given as encores! » Éric Heidsieck

 


Braunschweiger Zeitung - June 18 2014

The Depths of Romanticism
Ingmar Lazar astounded with his pianistic journeys


« "I call you to life, O mysterious forces!" Scriabin's epigraph, cited in his 5th Sonata with which Ingmar Lazar culminated his recital, could have been the leitmotiv of his whole programme. ...

The Depths of Romanticism
Ingmar Lazar astounded with his pianistic journeys


« "I call you to life, O mysterious forces!" Scriabin's epigraph, cited in his 5th Sonata with which Ingmar Lazar culminated his recital, could have been the leitmotiv of his whole programme.

The young French pianist treated the audience to an immaculate, supple performance. In the classical and romantic works that he performed, the necessary expressiveness of the repertoire benefited from added depths thanks to his infallible technique and his uncompromising approach. He was able to create a remarkable atmosphere in Schubert's late A Major Sonata that comprised the first part of his recital. With great logic, the pianist linked the recurrent display of audacious passages with the charming dance scenes. Even in the extreme culmination of the gently swaying dance rhythm of the Andantino (a real trip of the romantic era), Ingmar Lazar's playing remained clear and rigorous.

His execution of Beethoven's Sonata No. 5 in the tragic tonality of C minor was also clearly constructed, with a perfect balance between the menacing themes and their lyrical opponents. Wonderful singing tranquility characterised the Adagio, and Lazar demonstrated his wonderful technical skills in the Prestissimo finale. His interpretation of the Chopin Nocturne No. 16 in E-flat Major was completely different, showing a side of the romantic composer in one of his most mystical meditations. This 'night music' was full of intimate warmth, and Lazar also kept a clear metric organization and formal rigour in the complex rhythmical irregularities.

Scriabin's Sonata No. 5 in F-sharp Major, which followed, variously bearing the appellation of poem, is a real adventurous pianistic work with its unexpected eruptions, and with notations such as Con Stravaganza and Estatico. The audacity with which Lazar pounced on the keys was remarkable; drunkenness and ecstasy, with brief melancholic interruptions. The pianist graciously provided the enthusiastic public with three encores. » Ulrich Thiele


L'Alsace - July 10 2012

A virtuosic "Jeunehomme" Concerto

« (…) Deliberately refusing a demonstrative type of playing, Ingmar Lazar preferred a virtuosity without swagger and a sensitivity expressed with the greatest reflection. These produced a great blend with the orchestra. (…) » Jacques Weil

 


Le Berry Républicain - May 25 2012

« Alexandre Brussilovsky and Ingmar Lazar played with evident pleasure. It was not difficult for these two musicians to captivate their audience with such great talent. »

 


Viaţa noastră - December 16 2010

The Moscow Virtuosi in Tel Aviv

« Ingmar Lazar has a number of qualities that are rare, especially for his age: a rich tone of great quality; perfect velocity; the so called « pearled touch »; a subtly nuanced agility and a cantabile phrasing that Mozart transposed to the keyboard through his knowledge of opera composition. (…) » Ruth Guttman Ben Zvi

 


Weser Kurier - June 19 2010

A Wonderfully Controlled Performance

« Lazar was able to surprise everyone with a maturity of playing and interpretation far beyond his 17 years. He certainly did not make life easy for himself when deciding on the order of the works, as he chose to follow the Fantaisie Op. 49 with the Polonaise Op. 44, the two Nocturnes Op. 48, and finally the Scherzo Op. 39. His control was remarkable, and he brought this highly virtuoso, challenging piece to life. ...

A Wonderfully Controlled Performance

« Lazar was able to surprise everyone with a maturity of playing and interpretation far beyond his 17 years. He certainly did not make life easy for himself when deciding on the order of the works, as he chose to follow the Fantaisie Op. 49 with the Polonaise Op. 44, the two Nocturnes Op. 48, and finally the Scherzo Op. 39. His control was remarkable, and he brought this highly virtuoso, challenging piece to life.

If he had not done so already, after the interval, the French pianist won over the remaining hearts of his audience. The Mazurkas Op. 59 provided phases of atmospheric serenity before reaching the Sonata Op. 35, with which the guest achieved his « tour de force ». The four heterogeneous movements - strictly speaking only actually strung together in a row - were bound together by Lazar with stylistic vehemence into an exciting whole. The stormy opening theme of the Doppio movimento in the first movement still retained clarity and inner serenity. Wonderfully controlled playing - which Lazar showed - is the prerequisite for the second movement (Scherzo), with its widely spaced chords and precarious octave leaps. The popular Funeral March, the third movement, had serenity and atmosphere, whereas the immediately following Presto rushed past at the limits of its tempo almost in a dreamlike sequence. Enthusiastic applause followed and was rewarded with an encore. » Manfred Züghart


Schaumburger Zeitung - March 9 2010

Brilliantly virtuosic magical sounds of Chopin
Young pianist Ingmar Lazar hailed by the audience


« [Lazar's] interpretation of Chopin so impressed the audience that they bade their farewell to him with a standing ovation.
(…) He addressed the task of interpreting the artistically distinct periods of Chopin's life in all their colourful facets. In doing so, he withstood the temptation of simply dazzling by pure virtuosity. Instead, he impressed with the detailed plasticity of his shaping and he succeeded brilliantly in uncovering the varying moods of the pieces. (…)

Brilliantly virtuosic magical sounds of Chopin
Young pianist Ingmar Lazar hailed by the audience


« [Lazar's] interpretation of Chopin so impressed the audience that they bade their farewell to him with a standing ovation.
(…) He addressed the task of interpreting the artistically distinct periods of Chopin's life in all their colourful facets. In doing so, he withstood the temptation of simply dazzling by pure virtuosity. Instead, he impressed with the detailed plasticity of his shaping and he succeeded brilliantly in uncovering the varying moods of the pieces. (…) Ingmar Lazar and Chopin were more than just an impressive combination.
(…) His mastery allowed a broad scale of expression to unfold, such as in the Fantasie Op. 49 or the 3 Mazurkas Op. 59 that followed. (…)

It was surprising how quickly we forgot everything we thought about Chopin performers and marvelled at the charm that was prevalent during his playing. In the very exciting Scherzo No. 3, Op. 39, with which he ended his recital, Ingmar Lazar also revealed absolutely reliable virtuosity and accurate delicacy. A Sonata movement, which was played as an encore due to the rapturous applause, was an extra highlight. »


Le Quotidien du Médecin - November 23 2009

« We will not forget the performance of Ingmar Lazar. He demonstrated a perfect mastery of the instrument and an undeniable artistic temperament. » Olivier Brunel

 


La Croix - January 13 2006

The Child Prodigy and the Other

« It was one of those shocks where one was left wondering: the two hands of the child running on the keyboard, his ten fingers dancing like Lilliputs from left to right. A sovereign mastery showed that we are dealing with a young prodigy who draws silence from the listener. » Pierre-Yves le Priol

 


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