Acclaim

"The beautiful young pianist Orli Shaham not only is technically flawless, but also her innate musicality transforms every phrase she touches into a finely sculpted work of art. Her sound has a soft brilliance, her fluid scales are clearly articulated and subtly inflected. Yet, she can go from delicate lyricism to strongly dramatic intensity with seamlessness. Her body movements reflect the emotional content of the music which seems to inhabit her. Yet, she remains in control, serenely confident, taking time to reflect, and is keenly of the orchestra of which she becomes an integral part."

Sarasota Herald-Tribune

"Orli is so eloquent."

 

Brad Turner, Colorado Public Radio

Shaham...is completely at home with the music of today. She played with absolute confidence, weight and singing tone throughout its many challenges, from simple childhood tunes that reminded one of Satie, to a huge triple fugue at the end. A long, meandering cadenza at its center, for piano alone, had an improvisatory feel, and the effect was mesmerizing...Shaham communicated with expressive beauty.

Janelle Gelfand, Cincinnati Enquirer

American Grace demonstrates that modern piano repertoire is alive and flourishing in the hands of some of the great composers of our time.

Alison Howard, CBC Music

This is a performance that gives me great joy to listen to. You have here twenty astonishing agile and inspired fingers working in perfect sync throughout the piece. Any composer should be so lucky to receive such a reading as Orli and Jackie have done!

John Adams
Shaham not only exudes her deep understanding of and feeling for the music, but also radiates a contagious joy in performing it...
Ilona Oltuski, GetClassical
Rach 2 with Shaham in Winston-Salem
From the opening rolled chords, it was clear that Shaham is a powerful player and her interaction with the orchestra was first-rate...The pianist's delicate playing was exquisite, inviting the listener into a more intimate world.
Timothy H. Lindeman, Classical Voice of North Carolina

[Shaham's performance of Beethoven's Piano Concerto No. 1 was] ...a vibrant, engaged performance... Elements such as the lyric theme in the second movement were sensitively shaped and elegantly rendered. When the music demanded more, as in the animated final movement, Shaham stepped up, seeming to relish the opportunity. The audience rewarded her with a standing ovation and numerous curtain calls.

San Diego Union-Tribune
Orli Shaham gave a superb account of the solo piano part, with deep color and fine details; while many pianists toss off "The Masque" with be-bop brittleness, Shaham opted for an intriguingly Chopin-like undulation and haze, the lens of disillusion powerfully distorting.
The Faster Times
Orli Shaham played the prominent keyboard part [of Bernstein's second symphony, 'The Age of Anxiety'] - Bernstein's own response to the Auden poem of the title - with great panache in the jazzy passages, which came complete with authentic slap bass. Gorgeous.
The Guardian

"A fabulous pianissimo ... Ms. Shaham showed a firm, elastic touch, anchoring the frantic final movement [of the Ravel]."
The New York Times
"[of Messiaen's Oiseaux exotiques] ...brilliant pianist Orli Shaham playing the wildly difficult solo part."
The New York Times
Total: 42 (Viewing: 31–42)