Press

RECORDING OF THE MONTH, Music Web International, by Guy Aron, May 2013
“Occasionally artists come along who play with a maturity that belies their age. Yehudi Menuhin was one example. His original recording of the Elgar concerto, which was made while he was still in his teens, shows an understanding that someone of his age could not be expected to have. I would put Inesa Sinkevych in the same category … a Schubertian of real distinction” 

Excerpt from Audiophile Audition, by Gary Lemco, July 2013
“Ukrainian-born Israeli pianist Inesa Sinkevych is a laureate of the Arthur Rubinstein Competition who sports a big tone and a sweet cantabile.  These attributes serve her well in the selected music of Franz Schubert (rec. November 2011). ..Sinkevych musters up both grand passion and elegant lyricism rendered without fuss or mannered rubato.  Like her spiritual ancestor Arthur Rubinstein, Sinkevych seems content to let the music “play itself” without the “intrusion of virtuoso personality.”  The disarming beauty of the Andantino has the mesmeric aura that Rudolf Serkin imparted to this uncanny movement.  I found Sinkevych …thoroughly apt in the articulation of emotional nuance and elasticity of line, elements of a convincing performance by a newcomer to my Schubertiad precincts.”  

Excerpt from JWR Review, by S. James Wegg, February 6, 2013
“Every time a new artist comes my way either by CD or in person, there is an extraordinary feeling of anticipation: will she/he be a work in progress, not-quite-ready-for-prime-time, mature beyond his/her years or a burgeoning master-in-waiting? From this disc of delectable Schubert works, Inesa Sinkevych serves notice that she may well qualify for the last category: greedily, I most certainly hope that this early promise will be fulfilled…

…Grasping the overarching structure and purpose (that so much music could be built from “just” an octave…) is Sinkevych’s strength, allowing the music to move steadily forward—readily erasing barlines in favour of deeply personal expressions of rarefied art.

On to the next! The next recording from this talented performer eagerly awaited.”

Woodstock Times, September 2014
It’s going to be impossible for me to write about that concert without sounding as though I’m exaggerating, but still I have to report what I heard.  It was one of the greatest piano recitals I’ve heard in a lifetime of concert-going.  [Sinkevych’s] playing made me optimistic from the very beginning.  [She started] Schubert’s “Moments musicaux” by eliciting beautiful tone and shading.  Her Schubert playing was just gorgeous, expressive and singing, never sentimental, and very beautiful in sound throughout.  Then came Prokofiev.  Sinkevych gave us … the performance that provides the intense emotional experience inherent in the music, overwhelmingly dramatic, downright frightening in parts.  The relative calm which follows in the next two movements was just as convincing, and then came tornado of the finale.  How any pianist could draw such extreme power and dynamic range from the piano will remain mystery to me, but it was a memorable experience.  I honestly don’t think I’ve heard any pianist since Sviatoslav Richter play this piece as effectively.
(Leslie Gerber)

New York Concert Review, October 3, 2010
“Inesa Sinkevych played two Domenico Scarlatti Sonatas with brilliant note-perfect fluency…” (Harris Goldsmith)

Maariv, Israel, March 23, 2008
“Sinkevych indeed won great approval of the public.”

General- Anzeiger, Bonn, Germany, December 5, 2007
“The precise, clear and space filling first measures of the Beethoven’s variations were a clear statement. …the performance of Sinkevych seemed to be very mature. Also her interpretation of Bach’s G minor Fugue left a clear and cool, well thought-out, and at the same time very musical impression. The Finale of Beethoven’s Sonata Op. 110 was structurally very sophisticated, making a good contrast with the intense Adagio and the thrilling playing of the syncopated section.”

Diario de Noticias, Lisbon, July 25, 2007
“Inesa Sinkevych’s interpretation of the Prelude and Etude by Debussy demonstrated that she is an artist with intuition that knows to look far beyond technique.”

Ritmo Magazine, June 2006, Spain
“Inesa Sinkevych from Israel played the Concerto No. 4 by Beethoven with a very personal sound, big presence of overtones and rich cantabile. The Cadenza was in the Barenboim style, while the Andante showed a real Musician besides a Pianist.”

The Ferrol Voice, Wednesday, December 21, 2005, Spain
“[Sinkevych is] .. a grand pianist, young but great interpreter.”