This enterprising young French label seems to have a knack for discovering singular talent.
Now here is another exciting debutante, 28-year-old Frenchwoman Emmanuelle Swiercz (pronounced “shveerts”), who plunges fearlessly into central repertoire with interpretations that rival the finest available.
Comparing Swiercz with Nikolai Lugansky in the Preludes and Etudes-Tableaux reveals that, like him, she knows no technical limitations but is uninterested in mere digital display. In fact, her control allows her to create an orchestral range of sonorities – listen to the way she layers the texture in op.33 no.8…
Emmanuelle Swiercz reveals it to be a masterpiece of equal magnitude in a performance of awesome expressive range, passionate involvement and breathtaking beauty.
The recordings are superb and Intrada’s presentation excellent, the cover photograph of Swiercz laughing joyously entirely appropriate to this felicitous release.
La JAUNE ET LA ROUGE
“…Let’s not even talk about technique, which would embarrass some of the greatests pianists of the old school and which reminds us of Martha Argerich’s.
But Schumann is a romantic élan which leads to madness and mystery. This is where Emmanuelle Swiercz’s interpretation drives us.
LE MONDE DE LA MUSIQUE
At last an interpreter who doesn’t try to emulate Amelie Mauresmo at the piano!
The French pianist is not short of power, her sonority is intense and Emmanuelle Swiercz shows one’s again an ultimate art of great subtlety.
LA JAUNE ET LA ROUGE
“An absolute marvel of precision, virtuosity and sensitivity”
A new and beautiful reading of the Nocturnes. From the start, one is struck by the narrative ease, and, even more so, by its calm, the intense focus of her touch.
There is much dignity and sincerity in this piano music “outside of time,” that leads us along behind its varied tones in an unbroken narrative.
What a miracle that it is still possible to add to a conversation where we thought everything had already been said and heard!
Emmanuelle Swiercz manages what few other interpreters have: mastery in abandon, clarity in letting go.
Stéphane Friédérich, Classica (December 2015)
La revue du spectacle
This interpretation chooses to be unhurried, to seek for the unexpected. It is all gracefulness, balance, and clarity as it explores the emotional range of a score we thought we knew through and through. It manages to steer a course between sensuality, sensitivity, and suggestive poetry, between tragedy and confession, between meditation and a visit among the labyrinths of memory. The elegant phrasing, the undulating touch, and the miraculously tenuous cantabile of the young French pianist’s playing hit their mark.
La Jaune et la Rouge
We have compared Emmanuelle Swiercz’s playing to that of the legendary Samson François. We might say that she is typically feminine: nuanced, airy, and moving without being sentimental.
This interpretation will move you to nostalgia, to rage that you have not accomplished all that you could have, and finally, to peace of mind.
- La Jaune et la Rouge (January 2016)
Even though Chopin in not the father of the musical form « Nocturne », this Franco-Polish composer developed this art form to unprecedented heights, laying out the path for composers such as Liszt, Debussy, Ravel, Rachmaninov or Bartók. This programs requires an expressive tone palette as well as refined articulation and touch : qualities that are at the very core of Emmanuelle Swiercz’s playing. Pure piano, grace, brilliance, lightness, momentum. A pianist who will make a name for herself.
RECORD GEIJUTSU Selected Disc
Among the young French artists recorded by Intrada, it is my utmost pleasure to often discover “newly born stars”: I can bear witness that for sure Emmanuelle Swiercz is one of them.
When I listened to it, I easily perceived her outstanding musical quality as well as her clear-minded analysis of those pieces, her deeply poetical sensitiveness and her delicacy strengthened by a solid pianistic technique.
We are extremely convinced by her selection, which confirms how much she masters and tastes the interpretation of Rachmaninov’s music.
As from the very first “Etude”, Emmanuelle Swiercz displays her excellent sense of the rhythm, then she attracts us by her so fresh poetry and also her subtle playing. As the programme goes forwards we can feel such quality more and more keenly.
It is indeed a wonderful marriage between the artist’s talent and the composer’s creation; furthermore it is one of the very few “first CDs” (distributed in Japan) to be so well structured.
Carnaval opus 9 and Bünte Blatter opus 99 of Schumann: a program that allows us to appreciate once again the sensitiveness and assurance of Emmanuelle Swiercz’s playing, whether poetic or wildly energetic.
“Emmanuelle Swiercz plays , as the ceebrated saying goes,”as Tableaux rather than Etudes” at any moment she always appears to want to put forward both the harmonic values and the beauty of the sound.”
A somptuous Rachmaninov’s recital.
In the “Picture’s Studies”, Emmanuelle Swiercz is in the realm of the best interpreters.
Emmanuelle Swiecz’s playing is broad and radiant, with a taste for nuance (which she never confuses with silence). She is an artist worth following.
Frédérick Casadesus, Mediapart (November 13, 2015)
La Voix du Nord
For this sort of program, one needs a combination of touch, quality of play, and color palette that can ignite the imagination. Emmanuelle Swiercz achieves all this, taking us in her wake into the heart of romantic night.
B.S., La Voix du Nord (November 13, 2015)
Emmanuelle Swiercz kept my interest at every instant. I applaud her presence, her sense of the polyphonic, her cantabile. The way she gets the depth of the keyboard singing recalls the playing of Claudio Arrau.
Alain Lompech, Diapason
It is rare that a musician’s soul manifests itself with as much force as hers does here, pushing ever further the search for an ideal melody, finally attained.
…The pianist we discover here approaches the deeply secret, almost confidential universe of these 21 nocturnes, with not only a great deal of sincerity, but also a keen sense of the poetry that is inextricably linked to these works, themselves an unsurpassable summit in the piano repertoire.
(5/5) Michel Jakubowicz, Topaudio Musique (December 16, 2015)
It is always a great pleasure to discover one more interpretation of famous piano works.
Emmanuelle Swiercz’s complete Nocturnes composed by Chopin prove it.
This pianist successfully breathes new life into pages so often visited. Indeed, we are under the spell of her extremely sensitive touch.
Dong-Jun KIM, musical correspondent of “The Piano” (Korea).
Emmanuelle Swiercz enchants us throughout this Schumann recital, from the very first note she captures the listener’s attention, and brings about a sense of dramatic urgency.
In each piece she manifests charm and seduction, verve and delicacy. In brief, a perfect understanding. She approaches the piano with a subtlety which reminds us of Jean-Marc Luisada.
Emmanuelle Swiercz follows the tradition of Schumann’s greatest interpreters. She parts from their noble classicisism by daring a penetrating slowness that is deeply moving.
The Pianist renders with both finesse and distinction the various aspects of these two contrasting cycles, one is as seductive as the other but where Clara Schumann is always present.
“Don’t forget her name: Emmanuelle Swiercz. She offers in this first record a kaleïodoscope of colors and of rythms, which indicate faultless abilities.”
A pianist we’ll hear about. Her touch, her sonority, her sense of rythm, her profond engagement, almost carnal.
Her kean fingers signal both talent and power, a burning song typically hers.
Her finger technique, even when it is extremely delicate, is backed by the weight of her entire being. We see here sumptuously confirmed, both Chopin’s genius, and the power of Emmanuelle Swiercz’s playing.
L’ENA Magazine (January 2016)
Emmanuelle Swiercz is an uncommon pianist; she has proved herself with interpretations of Rachmaninov, Liszt, and Schumann, and now tackles Chopin’s vertiginous Nocturnes. Her delicate playing underscores the work’s melancholy nature, and achieves an interpretation that is both intimate and poetic.
Balthazar (January 2016)
In her introduction, Emmanuelle Swiercz reminds us of the density of Chopin’s works for the piano, and notes that “at each turn of its poetic path, a fairy landscape appears in the twilight, as natural as improvisation, but scrupulously built, like nature.” This is indeed the impression that her refined and deeply musical interpretations produce.
Edith Weber, L’éducation musicale
Overall, this is beautiful piano: well recorded, broad image, lovely tone color, warm lower mid-range, varied key attack, and pleasing evenness of registers. The melody is well executed, with sounds that are often magnificent, and a natural phrasing. Delicate tones, and close control of the narrative make for a dreamy, introspective interpretation. This is piano music that speaks to the listener: a very personal interpretation. She is one more superb musician.
Vagne Thierry.fr (December 20, 2015)
Wonderful piano, broadly breathing, emphasized by well-balanced colours and warm acoustics. A very fine tuning between open confession and elegant restraint, at an equidistant equilibrium between the “too much”
of Arrau and the “too little” of Rubinstein : yet from now on she deserves being exempted from any benchmark with her prestigious colleagues