Alexander Toradze


  • Stefana Atlas
  • Territory
    North and South America
    Press Resources
    “...a pianist of unconventional intelligence, range and creativity. If that meant adding all sorts of dynamic tricks and manners to Prokofiev's already fiendish score, then the fact that he could play nearly all the notes won him that license.”
    The Arts Desk, London | April, 2015

    Alexander Toradze is universally recognized as a masterful virtuoso in the grand Romantic tradition. He has enriched the Great Russian pianistic heritage with his own unorthodox interpretative conceptions, deeply poetic lyricism and intensely emotional excitement.

    Toradze's recording of all five Prokofiev concertos with Valery Gergiev and the Kirov Orchestra for the Philips label is acclaimed by critics as definitive. He has also recorded the two Piano concerti by Shostakovich with the Frankfurt Radio Symphony Orchestra conducted by Paavo Järvi.

    Toradze has appeared as soloist with literally all major orchestras in the world, such as the Berlin Philharmonic, the London Symphony...

    “...Alexander Toradze, the firebrand soloist in Prokofiev's Piano Concerto No. 2 in G minor...(Royal Albert Hall, London Symphony) plays as a man possessed, as if umbilically attached to the instrument, which in his hands becomes as varied and expressive as a full orchestra. He and Gergiev, veteran partners in the Prokofiev concertos, proved powerful advocates for a work that can sound merely mechanistic but here seemed a feat of human and musical endeavour. Georgian-born Toradze made light of its ferocious virtuosity, bringing sumo weight to the left hand while persuading the fingers of the right to dance with mercurial velocity. The audience roared approval...”
    The Guardian, London | August, 2007
    “His [Prokofiev’s] character, even more so his groundbreaking innovation, was expressed perfectly in Toradze’s version. His technique was absolutely incontestable, with clear and clean fingering, perfect control of dynamics and a rich color, both in the more percussive moments and the most transparent ones of the concerto.”
    El Pais, Madrid | May, 2015