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O seara de neuitat :Luminita Berariu piano concert

Luminita Berariu piano concert
Programme
J Brahms  - Klavierstucke op. 11
G Enescu-  Sonata in F sharp minor op. 24
G Enescu  - Suite op. 10 no. 2

on Tuesday 1 November,
at the Romanian Cultural Institute
1 Belgrave Square, London SW1X 8PH

LUMINITA  BERARIU was born in Bucharest , Romania, graduating with honors from the Conservatoire of Music in 1981.There followed a difficult period of political and artistic persecution by the communist regime which made her unable to travel abroad, to teach and to make recordings for the Romanian Broadcasting. Under these conditions she focused on an intensive activity in the Romanian National Opera (where she is working), where she got over the years a leader place as accompanist and vocal couch in her country.

After 1990 she began to develop a good reputation throughout her homeland and more widely in Europe and North Africa. She performed in single and duo piano recitals in the main Romanian cities and venues, in voice and chamber music recitals, in Romania, Germany, France, Belgium, Italy, Spain, Israel, Tunisia, USA. In 2002 she was invited by The Edinburgh Festival to prepare “Oedipe” by George Enesco which was presented in an extremely successful concert version, with an international cast, BBC Glasgow Orchestra, Edinburgh Festival Choir and the Romanian conductor Cristian Mandeal.

Her career as a solo pianist has gained momentum since performing in the Tenby Arts Festival in 1999 and went on with recitals in Pembrokeshire - St. David’s Cathedral, Rhos-y-Gilwen Art Retreat,  Powderham Castle in Devon, London - Warwick Trust in Pimlico, London Sketch  Club in Chelsea, Dulwich Gallery, a concert with Sidcup Orchestra. She was invited by the well known pianist and teacher John York at St Paul’s Girls School in 2002 at the Parfitt Day Guest.

Luminita Berariu is a regular guest in Pembrokeshire, where the Art Council of Wales sponsors every autumn a series of voice and piano master-classes.

She continues to develop her career, still based on her home city, receiving excellent critical acclaim wherever she plays.  One of her permanent tasks is to promote wherever she can George Enescu’s music. In this commemorative year, she adds to her repertory another masterpiece of this composer- the Sonata op. 24 in F sharp minor.

Excerpts from reviews

“The strong personality of this pianist shows itself from the first moment. Sensitive, with an acute and intuitive sense of musicality, which confirms knowledge and refinement, possessing a brilliant and clear piano technique, Luminita Berariu reveals herself as being completely consonant with the repertory she approaches."   ("Meridian" magazine, 2nd April 1993)

"Duo of a great interpretative power due to its affective-spirituality and the instrumental techniques called for......

 A work of vast proportions, monumental through its sonorous progress and the ideal fulfillment of - "Visions de l'Amen" (Messiaen)........Duo of a great interpretive power, which has found, while performing, the energy to sustain resonance, the energy to surpass the impressive technical issues, the concentration of expression and a perfect synchronization, the understanding and spiritualization of the essence of the music. No less a contender due to its dramatic tension, the Fantasy op. 5 by Rachmaninoff was interpreted with a great amount of lyricism and pathos, the duo having revealed impressive romantic resources..."

                                                                                    "The Musical Actuality" journal-March 1995

"L.B.   Had the audience spellbound with a truly magical programme, including works by the Romanian composer George Enesco "  (“Tenby Observer, 25th September 1998)

"Klavierstucke op. 118 ... have revealed their own existence with deep echoes and a subtle understanding of the construction, sonority and dynamic gradation. Obviously, she has a profound and clear understanding for Brahms and she are capable of shaping and of stating ideas, both architecturally and expressively” ("Cultural" journal, June 1999)
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