MARC PIERRE TOTH
PRESS QUOTES :
“ …Toth held the spectators in his fist with a recital that
will be difficult to forget, but revealed his innate
qualities as a true showman. His irresistible encore, the
Rigoletto Paraphrase of Liszt, was introduced with his own
fulminant explanation/listening guide. Theatre within
theatre, sagacious humour, and grand music received by
thunderous applause.”
- la Voce di Mantova, Italy
“- a brilliant Soloist !...in Mendelssohns First Piano
Concerto Toth displayed true technical brilliance and
jocundity. “
-Neue Westfälische Zeitung, Germany
“Toths spiel ist meisterlich, schnoerkellos, klar,
sensibel, mitreissend. Es lebt. Und Toth lebt darin und
dafuer.”
(Toths playing is masterful, clear, sensitive, and
seductive. It lives and Toth lives for it and within it.)
-Bad Rehburg, Germany
“...the uninhibited improvised style of moderation in
Pianist Marc Pierre Toth’s Concert Series has the potential
to achieve a Cult following...The fusion of the
performers(Marc Pierre Toth and Solenne Paidassi) held the
audience captive...Definitely a performance that one does
not hear every day...Full respect. “
- Mindener Tageblatt, Germany
... on the Beethoven Cycle, Recital no.1 : “With such
tangible interest, the classical concert does indeed have a
future.”!
- Neue Westfälische Zeitung, Germany
“ Toth managed with his sovereign pianistic skill to give
Mendelssohns composition from his youth a true romantic
expressivity. “
-Westfälische Volksblatt, Germany
“…Marc Toth is an interpreter full of nuance… immersed in
his world of pain, tenderness, joy, violence, and
suppleness…”
-L’EST Republicain, France
“ Notably in the second half, dedicated to Beethoven
(sonata Op.101) and Liszt (Etude de Paganini no.2 and
Rigoletto Paraphrase), Toth’s virtuosity emerged, never in
a means to itself, but with absolute mastery of piano
playing where his skills showed natural fluidity, exulting
expressive force and interpretive sensibility. “
-Acquaviva Giornaliera, Italy
“… in the Goldberg Variations of Bach, the artist succeeded
in presenting the strict yet emotional-laden architecture
of the piece incredibly transparently, thus driving the
enthusiastic public to their feet.”
-Westfälische Allgemeine Zeitung, Germany