logo.gif (37154 bytes)              

Reviews     Download Reviews

Fresh from the press...read the latest reviews

              "...Thoughtful and exceptionally musical player"

                             The New York Times

"Reichert was a precise soloist, linking notes cleanly, strongly, judiciously, staying within dynamic boundaries but also letting the sound expand appropriately...his sensitivity and introspection in the opening of the Adagio immediately arrested attention...the outer movements were full of life and charm...

                                The Los Angeles Times

"...Reichert played them, with nuances, strength and the unhurried sound of someone who knows how to say just what he means...it also showed that he is considerably more than a contest winner."

Chicago Tribune

"As anticipated, Reichert’s Schubert proved to be a miracle of voicing, expression and intellect. His perfect command of detail approaches the level of genius; no fine point escapes his notice, even as note by note he builds the total magnificent structure...Chopin’s Nocturne in C minor - a thunderstorm on a sultry night - and the same composer’s Etude in B minor - a hurricane of octaves - closed the program with the same incredible attention to tone and detail."

Fort Worth Star-Telegram

"...Reichert unleashed huge torrents of crisply detailed sound. Not since Lazar Berman’s recitals of the 1970s have I heard Liszt played with such drop-dead virtuosity wedded to such clarity of purpose."

San Antonio Express-News


Suddeutsche Zeitung - Joachim Kaiser

"Aviram Reichert has a communicative charm, youth and talent. He displays his penchant for risk taking, dazzling with evident pleasure in the passages of virtuosity."

Liberti Di L’EST

"...An artist at heart, his playing exceeded virtuosity and went far beyond mere piano playing, achieving profound musical expression."


 "...In a sharp change of pace, he followed the solidity and appeal of his Schubert performance with the exceptional way he handled the freewheeling fantasy of Scriabin - in this case the Fifth Sonata. While not giving as manic a performance as this piece often receives, Mr. Reichert did capture convincingly its often dancelike character, and he imbued it with lyricism frequently missing in more steamroller performances."

The Dallas Morning News

"Reichert Commands both an instinctive and intellectual grasp of the late classical style; He opened the Beethoven with a combination of grand nobility and vivid contrast in the first movement, followed by an infectiously energetic reading of the second, but the high point of this program - indeed, of the entire day - came in the prayerlike delivery of the opening theme of the final movement, from which each succeeding variation blossomed with inspired logic. The Schubert proved equally compelling, emerging as a grand dirge followed by heartfelt reconciliation."

Fort Worth Star - Telegram

"Son interpretation eblouissante, avait seduit le public."


"Aviram Reichert proved to be a pianist of startling excellence in the Beethoven Third piano concerto. Making his entrance after the long orchestral exposition that begins the first movement, he took the rising scales with an almost steely forcefulness to articulate the piano’s own views on the themes. This kind of clear-cut definition alternated thereafter with lyric expressiveness that seemed to come poignantly from the heart. The combination was compelling."

Sacramento-William Glackin

"Reichert played the Beethoven Concerto No.3 as if it had just been discovered for the masterpiece it is..."


"...Reichert exposed his picture of Schubert in a kind of retrospective light; he showed a perfectly serene person and composer, at peace with himself. Reichert’s interpretation was of a distinctly dynamic and resolute quality, nipping in the bud any artificial emotion."

Rheinische Post Moers-Germany

"...The same feature that gained him in the USA the reputed prize also impressed the audience in the Kammermusiksaal: brilliance of execution...but at times he could be so mellow, so delicate, making one forget that the Steinway piano in Moers can often sound somewhat harsh."

Westdeutsche Allgemeine Zeitung

"The 26 year old medalist in the 1997 Van Cliburn International Piano Competition startled and charmed the audience with swift and flawless fingering, relentless energy and an obvious relish of Prokofiev’s demanding masterwork...Reichert’s passion and technical virtuosity drove the conductor and the orchestra to new heights."

The Durango Herald

"The evening’s soloist, Aviram Reichert, demonstrated the kind of sensitive musicality one can only hope for in a pianist at the beginning of a solo career. He was a good listener as well as an exceptional player - one who has cultivated a sparkling clean technique and a lustrous tone."

Spokane - Travis Rivers

"He began with a technically splendid rendition of Beethoven’s “Appassionata Sonata” that was also musically insightful. The middle movement, with its variations on a lyrical song - like theme, was a particular highlight."

Laurenece E. Mcdonald

"Aviram Reichert is not only a virtuoso. He is "Jack the Giant Killer" and Arnold Schwarzeneger all rolled into one...Reichert also served us up some sublimely sensitive soft and slow playing. In fact he has a lovely, assorted palette of controlled sonorities that he employed to excellent musical advantage... This was, quite simply, a blockbuster performance, totally uninhibited, yet tightly controlled and ultimately totally expressive."

Lyn Bronson - Internet Review

"Reichert's musical virtuosity is startling. His discipline and near-perfect technique, allow him to cut loose with his celebrated musical passion and energy...Here is piano artistry."

The Durango Herald 

The latest Concert Tour reviews

Back to the top

A thrilling performance of Sergei Rachmaninov’s Piano Concerto No 2 in C minor provided a splendid start to the six-concert summer season of the KZN Philharmonic Orchestra in the Durban City Hall.

This concerto has been much loved and much played over the past 115 years but it still retains its hold on listeners, and in the hands of the visiting Israeli pianist Aviram Reichert it brought the Durban audience to a high pitch of enthusiasm.

Aviram Reichert is a brilliant player with a massive keyboard technique and a calm demeanor. He produced a dazzling display of rapid runs and octaves and he played the sweeping lyrical passages with a clear, penetrating tone.

The big orchestra, about 70 players, was conducted by the American-Israeli Daniel Boico, a frequent visitor to Durban. Under his direction the players extracted full value from Rachmaninov’s opulent score.

In response to a standing ovation the pianist gave a suitable encore, Rachmaninov’s Prelude Op. 32, No.5.

Michael Green, ArtSmart, Durban, Feb. 15 


Astonishing skills in brilliant piano recital.

The Israeli pianist Aviram Reichert gave a brilliant recital of masterworks when he played for the Friends of Music at the Durban Jewish Center.

He has built a big international reputation over the past 20 years or so, and he has visited South Africa several times. On this occasion his Durban audience were again impressed by the controlled power of his playing.

He opened his program with Beethoven’s Sonata Op. 109 in E major, one of the greatest works in the entire keyboard repertory. He gave a compelling interpretation of this complex, philosophical music, and the high points came, inevitably, in the sublime final movement, a set of six variations on an other-worldly theme. The listeners seemed spellbound, and there was a perceptible awed silence at the end before they broke into enthusiastic applause.

Then came the most famous of all the 32 Beethoven sonatas, Op. 27 No. 2 in C sharp minor, the Moonlight Sonata. The beautiful Adagio first movement was played with subtlety and delicacy, and the rest of the sonata produced a splendid display of virtuosity, especially in the final Presto agitato.

This was followed by two works in very different mood. They both gave the pianist ample opportunity to display his formidable technique and big tone.

The one-movement sonata No. 5, Op. 53, by the Russian composer Alexander Scriabin (1872-1915) was composed more than a hundred years ago, but it is still remarkably revolutionary to most 21st century ears. It is one of the most difficult pieces ever written for the piano, and Aviram Reichert showed astonishing skills as he delivered the sound and fury of Scriabin’s rapid octaves and chords.

The program was completed with the more familiar strains of Chopin’s Sonata in B flat minor Op. 5, the one with the celebrated funeral march. The pianist reveled in this powerful, romantic music, and another virtuoso performance brought an ovation from the audience.

Michael Green, ArtSmart, Durban, Feb. 15 

At the center of the concert, Reichert breathed high drama into Beethoven’s final piano concerto, “The Emperor.” Playing with force and fluency, he dazzled the audience with his opening flourishes. He merged into and out of the several cadenzas with ease, the orchestra anticipating each reentry as if the musicians had been rehearsing for weeks instead of a few mornings.

In contrast to the martial and muscular first movement, the adagio turned to muted tranquility with the briefest suggestion of what would come in the big, triumphant final movement. A percussive spatter of rain briefly accompanied timpanist John Pennington’s exposed pulse before the celebratory work brought the first half to an energetic conclusion.

Judith Reynolds, The Durango Herald, July 14


"For 13 years festival audiences have warmed to pianist Aviram Reichert. Chosen more than a decade ago by festival founder and original conductor Mischa Semanitzky from finalists at a Van Cliburn competition, Reichert has brought many great works to the festival stage. For a Chopin Year tribute (2010 is the 200th anniversary of the Polish composer's birth), Reichert chose to perform the first concerto, written when Chopin was only 19. The concerto is a virtuosic showpiece for any pianist, and Reichert demonstrated that he has continued to capitalize on his immense skill. The first movement in particular is heavily arpeggiated, rapid articulation of chord structures up and down the keyboard, and requires a high level of technique.

As Reichert continues to dazzle audiences with his prowess, he also has deepened in expressive content. That was most clearly evident in the second movement, the Romanze. Before the piano entered in lyrical quietude, muted strings had created an atmosphere of serene calm. Reichert then merged into a beautiful internal duet with bassoonist Laura Leisring. Together, they underscored the movement's air of yearning tinged with melancholy. That, too, can be a show stopper, but of a different kind.

In contrast and with splintering speed, Reichert and the orchestra entered the final dance-like Rondo with high spirits. Throughout, Conductor Figueroa led the orchestra with an easy flexibility, shaping phrases and shifting tempi as if the musicians had a whole summer of rehearsals."

Judith Reynolds - The Durango Herald, July 27, 2010

Manuel de Falla’s “Nights in the Gardens of Spain” is an evocative, almost magical pairing for pianist and orchestra, two artists collaborating on a single canvas. Reichert and Lockington together were rock solid. Reichert, formerly at Grand Valley State University, now on the faculty of Seoul National University in Korea, is a big player with all the tension of a coiled spring suddenly unsprung, particularly at the ends of long passages. He has heft and he has poetry, and heft mostly prevailed on Thursday. Probably, there was little choice. It’s an intimate piece a little small for DeVos Hall, where the orchestra last played it, but also a little big for Royce Auditorium. As an encore, Reichert played De Falla’s “Serenata Andaluza” — a good night kiss, as he put it. Here was a passionate performance, pure poetry, worthy of its standing ovation.
Jeffrey Kaczmarczyk - The Grand Rapids Press
, March 2010


"...The high point of the afternoon was reached in Rachmaninoff's "Rhapsody on a Theme of Paganini". Guest pianist Aviram Reichert's playing was sheer poetry, whether of the fleet-fingered, blinding speed variety, or employed in the deep-toned unfurling of heart-breaking melody. His mastery of the keyboard and ability to communicate the passion, elegance and splendor that infuses Rachmaninoff's rich, dense, and delicious harmonic language was perfectly matched by an orchestra (Springfield Symphony) that sounded like the Philadelphia Orchestra on those glorious old Ormandy recordings....The opportunity to hear Reichert's and the Orchestra's account of the "Rhapsody" is worth the ticket price alone to the concert.

Read the complete review

Clifton J. Noble Jr. - The Republican, Nov. 8 2008


"Fluid piano, solid orchestra for Tacoma Symphony opener"

The first concert of the Tacoma Symphony Orchestra held few surprises on Saturday night at the Pantages, but did include some virtuosic solos from pianist Aviram Reichert and reassuringly solid performances from the orchestra. Israeli soloist Aviram Reichert showed his Cliburn bronze medal chops in a rendition (Rachmaninov Piano Concerto no. 2) that emphasized lyricism and almost liquid virtuosity. Despite a too-quiet orchestra, Reichert brought out the mournfulness of the first movement, with a fluid virtuosity in fast passages that was delightful to hear... Seamless flute and clarinet solos opened the heartbreaking second movement, and the TSO’s first violins were streets ahead from last season in unity and intonation. Despite wrestling with a perennially late orchestra and less than stupendous volume, Reichert pulled off the concerto’s final pyrotechnics with aplomb.
Even better was the Chopin Etude op. 10 no. 8 that followed as an encore—Reichert’s swift fingers were made for rippling 16th notes...

 Rosemary Ponnekanti, The News-Tribune, Oct. 26 2008


"Fiery soloist highlights Beethoven concert...There are ample reasons to call Aviram Reichert back to our town. He thrills audiences wherever he goes, and ours is certainly among them. Reichert's approach (Beethoven: the "Emperor") seemed to be fierce and determined, leaning forward into the tempo, driving himself and the orchestra. Thus the movement had energy that grabbed one's attention. His trills were like torches burning through steel - heat focused to a fine point. His two-handed runs and arpeggios left a trail of burnt rubber...The second movement opens with a lovely, pensive theme...and this fiery pianist lays down his flame thrower and adds to the lyricism that leads up to the sudden shift to the final scherzo...he and music director Kevin Rhodes work so very well together. Reichert's tempos are met with Rhodes' approval. They boogied along quite joyously to the rousing conclusion. Clearly, the audience was as pleased as Rhodes....he offered a very brief but absolutely delicious playing of Scriabin's "Album Leaf", a one minute jewel that showed more of Reichert's Heart.

Read the complete review

Joe Rice, The Record-Eagle, July 24, 2008

S. Africa Tour, June, 2003.

"Aviram Reichert...gave of his utmost mastery of the keyboard to his Knysna Music Society audience on June 26...It is impossible not to use superlatives to describe a faultless recital, given with seemingly relaxed enjoyment, but limitless dramatic insight. If the world is an oyster that occasionally creates pearls, this experience was one of the rarest value."

Colin Lang, Knysna News. June 20th, 2003.

"Scriabin's Sonata No.9 and 4 wonderfully showed up Reichert's art. The wild, practically maniacally aspect of the Sonata No.9 was played with feverish intensity and dramatically contrasted with the more lyrical passages. The association of volume was as powerful, from a mere whisper to thundering loudness. These exciting interpretation showed up Reichert's sharp insight."

Piter Kooij, Die Burger, CapeTown. June 19th, 2003.

"The best part of the recital came in the two Scriabin Sonatas, of which No. 4 was really beautifully interpreted. The tone was consistently attractive, the feeling for the tentativeness of the first movement and the confidence of the last was admirable, and the technical expertise left no doubt that Reichert can play with authority."

Michael Traub, The citizen, Pretoria. June 18th, 2003.

"...The Israeli pianist Aviram Reichert’s interpretation of Gershwin’s Concerto in F was a tour de force. He is a keen soloist who exploits every nook and cranny of the score. The result was a bravura performance..."

Thys Odendaal, Die Beeld. June 24th, 2003.

"Aficionados of the piano revelled...Reichert was in the bravura mode. This Virtuosity suited Scriabin's Sonata No. 4 to the hilt. Quite spectacular in the Prestissimo volando!   In Chopin's Sonata No. 2 Reichert also dazzled with his technical flair. There was sweep in the finale, intensity in the famous death march, a ruminating quality in the Scherzo and a firm, robust account of the opening..."

Riek Van Rensburg, Pretoria News. June 12th, 2003.

S. Africa Tour, February, 2001.

"...His recital program allowed for full display of his technical brilliance, as well as his warm and sensitive musicianship...the boisterous Maphisto Waltz by Liszt, which ended the program, had to be seen as well as heard! it was a stunning performance. The concerto was given a near-perfect performance."

The Mercury, Durben. February 19th 2001.

"Reichert makes a cathedral from a church... The Israeli pianist is a brilliant soloist and at the same time his playing is inexplicable."

Die Beeld, S. Africa. February 21st, 2001.

"An enviable technique and wide-ranging tonal resources are only two of the most prominent qualities emanating from the young Israeli concert pianist Aviram Reichert...one could marvel in Reichert's meticulously graded dynamics so effortlessly accommodated, so truthfully conveyed...Everything sounded utterly convincing and as beautifully stated as could be."

Paul Boekooi, Johannesburg, S. Africa. February 19th, 2001

"Aviram Reichert treated the Piano Concerto No. 2 by Saint-Saens as a work to be enjoyed not merely as a work of virtuoso display. Whether taking the lead or permeating the orchestral texture with passage work, he was unfailingly perceptive, resourceful and poetic. He staked his claim in the opening when he played the restless extended fantasia with sweep and vitality repeating the stance in the coda with even more dexterity. In the final two movements his confident virtuosity brought fluency allied to a spontaneous delight and exuberance that was fascinating. He played with almost improvisation delight which also characterized his scintillating approach in the Schubert encore."

Pretoria News, S Africa. February 19th, 2001

"...The highlight of the evening, however, was undoubtedly the quite riveting account of Saint-Saens G minor piano concerto, performed with ebullient good humor by the young Israeli virtuoso, Aviram Reichert ...His technique is superior, indeed effortless, and the most taxing passages in the work (of which there are not a few) were whizzed through with efficient alacrity ...the solo line was utterly assured and marvelously pliant ...The standing ovation afforded the performance was entirely merited..."

Cape Times, S. Africa. February 6th, 2001

"Young Israeli Pianist Aviram Reichert exudes self-confidence and boasts an exemplary technical command. Four Scarlatti Sonatas opened the program ...Here Reichert's scale passages, crisped and pin-point in their clarity, of which we were to hear many more during the course of the recital, were given their first airing ...The four pieces of Schubert's Impromptus Op. 90 were the highlight of the program. The lyrical passages were beautifully played with a sense of poetry. The rippling lightness of the triplets in the No. 2 delighted and there was a spontaneous spring-like freshness to the final allegretto."

Elspeth Jack, Cape Town, S. Africa. February 5th, 2001.

USA Tours: 1999 - 2000.

"…Israeli –born pianist Aviram Reichert is anything but a common man. Reichert, a rising star in the piano world, joined the philharmonic for the Beethoven’s sprawling and complex “piano concerto No. 5” also known as the “Emperor” concerto. It is a showcase for technical prowess, and Reichert displayed an impressive command of detail. The strength and precision of his playing challenged the orchestra to keep up in the call-and response sections of the first movement. Even more impressive than Reichert’s virtuosic skill was an emotive presence that was stunning for someone so young. He clearly knew exactly what he wanted to coax from each theme, and played with romantic flair that held the audience rapt throughout the extensive piece.”

 The State. Colombia, South Carolina.  November 18th, 2000.


"The young Israeli pianist Aviram Reichert played the solo part to perfection. His formidable technique matched every demand of Brahms' difficult piano writing, from the thunder of the first movement to the poetry of the slow movement to the high energy of the finale. He almost made the concerto sound easy. More important, he made music of it every step of the way, giving full value to every expressive nuance. Reichert coaxed a wide dynamic range from the piano, dominating the orchestra in loud passages and playing with utmost delicacy in quieter moments. He seemed at home with the new piano, which continues to sound splendid. It's a pleasure to hear such a fine artist who is sure to have a splendid career. The orchestra, under its conductor and musical director, Miguel Harth-Bedoya, played its part in the concerto admirably. As has always been true, Harth-Bedoya worked beautifully with the soloist, following him closely when appropriate and taking the lead when necessary. The orchestra responded with precision and energy. It was as satisfying a performance of the Brahms concerto as one could wish for."

The Register - Guard   September 30th, 2000


"..Reichert began the Concerto No. 2 in C Minor by Sergei Rachmaninoff as written. When he started with triple pianissimo and progressed to a thundering fortissimo, I knew right away we were in for an exciting performance of the work.  Each repeated statement was distinctly more intense than the one before, and each was played cleanly. He then launched into a display of absolutely dazzling technique and brilliant musicianship that brought the audience appropriately to its feet with cheers and applause.  Reichert has powerful hands, and they are lightning fast. His cadenzas were effortless and thrilling. To emphasize his power and speed, his encore focused on those elements, to everyone's delight."

The Record-Eagle September 19th, 2000


"... However, the night belonged to Israeli pianist Aviram Reichert, who ignited the audience with a vigorous reading of Saint-Saens’ Piano Concerto No. 2. Like a jet fueled rocket, Reichert played with an intensity that never let up. By the time he reached the finale, Reichert had established a perfect thrust of musical necessity. It was as if he, the orchestra, and the audience were on a launch pad lifting off. I’m serious. People around me marked the urgency of the music in a variety of ways. One woman down the row rocked her green plastic chair with such muscularity I thought she’d go overboard before the pianist did. A romantic at heart, Reichert played the opening cadenza with a good deal of pedal. By the time he entered the lush landscape of heroic arpeggios, he was in full command of spaceship Purgatory. There is no adagio movement in the Saint-Saens concerto – another reason why Reichert could capitalize on the pulsating tempi of the work. 
A thundering response from the audience brought Reichert back for an encore, another passionate outburst of musical fury: Chopin’s Etude No. 12, Op. 10, "Revolutionary." What an evening."

The Durango Herald July 31st, 2000

"Energetically refreshed and immaculately turned out classicism seemed the order of the evening. Certainly that was the case with Aviram Reichert as the soloist in the Mozart's D-minor Concerto...played with grace and point, power and finesse..."

The Los Angeles Times October 4th, 1999


"Reichert offered more than clear strong playing - with beautiful tone he brought the music to life...He was at once intensely romantic and decisively classical."

The Pittsburgh Tribune September 27th, 1999

Back to the top